"Aaron Dilloway & Tovah Olson caught live
on tape at Detroits Noise Camp in the Fall of 06. Crazed bone reeds, frozen
cheap keys, general scraping rawness. Sounds strange at any speed. Recorded
by Mike Connelly. Pressed on multicolored vinyl, no two are the same.
Strange sleeve, hand-numbered edition of 200." - Tovinator.

"First-ever vinyl reissue of this lost-in-time U.S. private press album from 1980. Male-female vocals, fuzz guitar, and synths. Echoes of the 60s San Francisco sound (Tripsichord, Airplane, or Quicksilver) mix with FM pop-rock and even jazz-funk. Considered by many collectors the best USA 80s psych LP along with Bobb Trimble. Unbeatable 24-bit remastered sound, insert with detailed liner notes by Aaron Milenski and unseen pictures. "There arent very many private press records that show off so much legitimate vocal and instrumental talent, not to mention such lyrical intelligence, and this fine album should be celebrated for everything it is." --Aaron Milenski (Acid Archives); "They sound like a cross between Anonymous and Titus Oates"" -Patrick Lundborg (Lysergia.com).

"The brilliant first LP by the Berlin troupe T.A.S.K., "Relaxing Time Is Over". All basic tracks on this album were recorded live in a Berlin living room studio in the winter of 2005 and the winter months of 2006 - NO SUMMER RECORDINGS. 11 songs of minimal psych pop with a Velvets air of cool by way of the German psychedelic underground. T.A.S.K. is comprised of members of the insanely underrated Floating Di Morel and Metabolismus.
Band members have performed with artists such as KIM FOWLEY - "SOUNDS OF AN EMPTY ROOM" after GERMANS BECAME NEGROES, MEN AND WOMEN FIGHTING; F/I; FLlPPER, SAMARA LUBELSKI, HERMMANN HALB, DR. CHADBOURNE, JAD FAIR, MOE TUCKER, JG 39, MONSIEUR MORIOT, STERLING MORISSON, G. KRAUS (LIMBUS)" - Heartworm.

“There is little controversy in suggesting that all that music consists of, essentially, is structured sound, and sound, to skirt its physics for want of both competency and space, represents the audible portion of an elapsed period. It has also been well established and explored that once one presents a work, regardless of medium, within the context of art, framing immediately occurs, separating the result from that which belongs to the natural order of things. And what of the Avant Garde’s oldest muse, the distinction/interaction between life and art? Even that which we label “non-fiction” or “documentary” is, at best, a tiny sliver of an infinitely complex substantiality. Indeed, these ideas are far from novel and, if handled awkwardly, would serve as tired, even mawkish premises for any aesthetic endeavor. So it follows: "Out of reaction...a step forward."With this position in mind we arrive at the inaugural release on Crisis of Taste, Violence as Sport: Audile Realizations of Atrophying Reality. Field recordings of deliberate nature and intent are shaped live, alongside tapes, environmental manipulations and microphone work, into six crude, lacing fragments chronicling processes of aural intoxication and abstraction, the tangible waning in muddled strands. Implicit through purposeful sequencing is a subtle critique of the concepts of verity and “authenticity” in the art object. Although trading in what some may justly declare egg-headed currencies, of which its maker’s grasp is admittedly tenuous, receptive listeners should find value based purely on musical merit, particularly if they hold self-taught means of "reality confrontation" analogous to RLW/S.B.O.T.H.I., hewn collage tactics of the sort employed by Kiyoshi Mizutani or dedication to the minimally edited, yet often alluringly alien sound worlds of Philip Corner, in high esteem. Imagine all this assembled under, say, Hans Krusi’s shaky gaze; if you haven’t thrown up in your mouth yet then what we have here may be in your wheelhouse.” - Crisis of Taste.

"2013 release. Known amongst a small group of teenage friends as T.R.A.S.E. (Tape Recorder And Synthesiser Ensemble) this previously-unearthed and fully-formed electronic music project was spearheaded by a 16-year-old schoolboy as an extension of his woodwork, metalwork and science classes in 1981. Composed and recorded using a self-made synth, audio mixer and electronic percussion units, T.R.A.S.E. would bridge the gap between a love for sci-fi horror soundtracks, Gary Numan B-sides and an extracurricular hobby as a sound and lighting designer for school plays -- bequeathing a backstory as unique and unfathomable as the individualistic sonic results that he would finally commit to C90. Having successfully recorded his only solo album, Electronic Rock (which was never duplicated beyond his own demo copy), this early musical achievement by Andy Popplewell stands up as a rare self-initiated example of embryonic experimental electro pop and genuine outsider music, marking the early domestication of synthesizers and the dawn of electronic home recording studios with uninhibited results. Unhindered by adult concepts like self-consciousness, popular snobbery, fashion, pride and fear of failure (while funded by paper rounds and odd jobs in his Mancunian community), Andy, armed with the plans to the Chorosynth kit module, an old junk shop piano keyboard and some hand-me-down tools from his deceased dad, would fill an exercise book with plans, arrangements and self-penned new wave pop lyrics to fully realize the potential of his one-man synthetic symphony. Reaping the benefits of his own stenciled circuit boards and soldering iron skills (whilst occasionally enlisting the part time help of his younger brother on guitar), T.R.A.S.E.s homemade technology pop continued to bloom right up until the very cusp of adolescence when careers officers and real life responsibilities saw the end of Andys reel-to-reel multitracking, which is finally presented here for the first time since it was sung and played. This ambitious cross section of robotic funk and moody soundscape sequences gives instrumental nods to John Carpenter and Kraftwerk next to unpolished vocal drones worthy of a sedated Human League or Joy Division, all of whom shared radio dial digits amongst Giorgio Moroder, Tubeway Army and The Glitter Band as Popplewells clearest unabashed influences. T.R.A.S.E.s final hiatus was followed by Andys working education in London under BBC employment as a trainee radio engineer (not far from the closed door of the Radiophonic Workshop) which has since led to a widespread reputation as one of the countrys leading independent tape engineers/editors/archivists, indiscriminately splicing and baking vintage tapes for anyone in-between Alpha in Brussels and ZTT in London, and having worked with hundreds of reputable studios, pop stars and media companies throughout his career." - B-Music.

Edition of 320. “T.V. Sovietica was an exploratory sound project from Valencia (Spain) developed in 1983 in the postpunk era of the early 80s which built on the work of “Neonada y Atentados”.
From these beginnings evolved a brief, dark and unsettled trajectory based on sound effects inspired by electronic German music with influences from the artistic vanguard analogy (Satie, “Musique Concrete” and minimalism) The darkest, most introspective postpunk, radicalising with its experimentation, moving towards “industrial”, “anti-music” styles.
The essence of its sound combines the use of guitars and electric bass with electronic instruments (Yamaha CS-15, Korg MS-10, Boss DR-55 , etc) , acoustic percussion, mechanical elements and vocals. Confronting frequencies elaborated from improvised riffs with vocal expression.
Of the same generation as bands such as Esplendor Geometrico and Aviador Dro.
The lost model, now recovered in this work demonstrates the beginnings of Spanish synthpop with “Contacto Telepatico”. The influence of New Wave in “La matanza de los bebes foca”, moving towards the conceptual project “Islandia” to which the majority of the themes belong, “ Oxido en tus ojos” (1984) draws to a close a period of work for the band, probably in its most corrosive moment.” - Atemporal.

Repressed. "Unreleased studio recordings from 1971 and 1972 which were originally planned as an album release. If this had been released at the time, T2 would have certainly gone on to the big leagues of rock, joining Free, Deep Purple, Atomic Rooster, etc. Sadly, this was never released and so we are happy to present this previously unheard underground masterpiece. Comes on 180 gram vinyl." - Acme.

"40th anniversary edition with insert; on white vinyl. The rise of power trio T2 in 1970 was rapid: important open-air festivals; headlining residencies at the Marquee Club; appearances at virtually every major venue in London. Then their debut album was released; they seemed poised for a breakthrough. As the band recalled, they were playing the Marquee club with John Lennon and Jimi Hendrix hanging out backstage, which was all to the good. But people were coming forward saying, we cant find your album anywhere. In short order, the band fell apart. Still, their sole Decca album has become well established as an all-time classic amongst progressive and psychedelic music collectors -- even the techno and DJ crowds. The fact that it has done so without hype is a testament to the innate quality of the music. The album is packed with melodic acoustic passages and frenzied fuzz guitar workouts, not to mention acid-trip induced lyrical and musical content." -Acme

"One of the latest discoveries of the Spanish record hunters is this nice early seventies release by Tabaco, their only LP. Dubbed from the original master tapes features the smashing titletrack, a fantastic gallactic prog-groove instrumental with dazzlingsound effects, plus some nice progressive ballads and some hard R&Btunes. Original copies are rare as hell and change hands for obscene amounts of cash nowadays!" - Wah Wah.

180 gram vinyl. Edition of 500. "Tapete present the first reissue of Jon Tabakins self-titled album, originally released in 1975. After spending his teen years in local bands, Tabakin had a motorcycle accident at the age of 19. This experience turned his attention inward, focusing on musical composition and poetry, rather than performing. After graduating, he wanted to sell the songs he had written during that time, which would become his sole record. He bought a Teac 4-track and laid down keys, guitar, and vocals himself, in his apartment. The rhythm section was added on later in the studio, with Tabakin overdubbing the bass. The record was pressed up under the banner of Larrow Records and sold a few copies locally, but ultimately went nowhere. Disheartened by the lack of interest, Tabakin switched his focus from pop writing to more classically-influenced piano improvisations. Tapes of these recordings ended up with RCA, who thought he was ready to "break-out" -- but his reluctance to tour as an improvisational pianist nixed the deal. After this second opportunity petered out, he all but turned his back on music and went on to graduate studies, eventually becoming a psychoanalyst. Tabakins self-titled effort is one of the best kept secrets of pop music. Now a highly-coveted collectors album, the songs sit together and mesh so perfectly, despite each track having its own distinct personality. Its an ode to pop music, all-encompassing and intensely personal at the same time. Some internet comments about Jon Tabakin: "I cant tell you how happy I am to own this LP. Its fantastic lo-fi, very authentic Todd Rundgren inspired pop. His voice isnt perfect, but thats fine, his passion is infectious. This is not a record filled with radio ready pop songs but its a grower; it has a slow burn. Its a perfect expression of one guys musical enthusiasm." "Incredible and super obscuro homemade 70s outsider folk rock singer songwriter. Hard to classify, especially because the instrumentation varies from song to song. Theres a strong Brian Wilson west coast 60s sunshine pop recluse undercurrent throughout, with the strange addition of prominent 70s progressive keyboard/organ moves on several tracks. This guy obviously spent many hours orchestrating this material, and theres plenty here to keep things interesting for repeated listens." - Tapete.

"For the first month of living with this record all I listened to was the 2 lock grooves at the end of each side, which provide enough listening pleasure to merit their own release, or to be a lost track off of one of the RRR locked groove records. Taboo, hailing from the western mountains of MAine, claim to have released over 50 records at this point in their career as derelict noise rock creepers, and with the title of this record being what it is, i can only assume they are as honest as the sounds of barking dogs and doorbells that appear within the first 10 seconds of side A, or is it side B??? This is a truly disorienting release, for man and beast alike, which harkens back to the days when rock and roll was actually as scary as a nightmare......except with nightmares you get to wake up and find that maybee its not all as real as ones fantasies are........or are not, depending once again upon whether side a is side a and side b is side
b........ya know what I mean????
Recorded and MAstered all Analog. SOUNDS LIKE: THROBBING GRISTLE, DESTROY ALL MONSTERS, ROYAL TRUX, CAPTAIN BEEFHEART, TOBARI" - Trd/wd. Full Color Cover art Pasted over old record covers. 300 pressed. Split with Asbestos on Ice Records

"Three new songs from TACO LEG, ambassadors from the city of Perth, a seaside burg in Western Australia which, as any visitor can confirm, served as a model for The Village to which Number Six has been condemned. The principle mode of travel is hot-air balloon & the locals cheer a longneck of VB with a salute to favorite son Gus Chambers. Its a strange, isolated district inhabited by a society just a little too askew for general population.
Taco Leg visited all the major United States markets in late 2010, and this is the first blast weve heard from the guys since that historic trip. Its also a preview to the forthcoming album on the Fan Death label. Printed Gold is a buzzy single-noting headbanger and it shows all the confidence of a Ryan Howard home-run. In fact, in a tribute to his American fans of the diamond, the guitar player wore batting gloves for the recording session.
A certain high-ranking Aussie musician and writer pointed out to the band that their approach has a lot in common with FANG. The guys not only took the trouble to figure out just who the hell is Fang, they even learned the bands most memorable tune & put it to tape. The result? An interpretation of The Money Will Roll Right In thats a few degrees drier, more inspired, & more determined than the original. Certainly, these guys stand a chance at the film career that proved elusive to Sammytown & that crowd." -Richie.

"TACO LEG are the best band in the world. No, seriously. The Perth trio of ANDREW MURRAY, SIMON MORRISON and RICHARD INGHAM has been blowing us away since we first came across their Myspace page shortly after starting Fan Death. Taco Legs self-titled LP wastes no time in making its mark, its 12 tracks clocking in at just under 20 minutes. Many of these tracks barely crack the minute mark, but like their Perth punk ancestors from the Victims to Extortion, their songs are direct and lodge in your brain until you find yourself thinking about "Raiders of the Lost Ark". If youre familiar with Taco Leg, the elements are all there-minimal guitar lines and stripped-down, proto-punk drumming, with singer Murrays unforgettable voice intoning cryptic lyrics. This is the record where theyve fully honed their sound, and very nearly have learned how to play their instruments. Whether its on the shambling swagger of "Shut It Down," self-described "Detroit Hardcore" song "Find Me," or the tension of "I Cant Decide" (not a Black Flag cover), Taco Leg perfectly encapsulate the feeling of being young and bored without being boring. Members of Taco Leg also appear in a number of other great bands, all of which are incredible and essential to check out, including: PAULINE MANSON, CONSTANT MONGREL, WHALEHAMMER, POND, and Ringhams garage-punk/prank call project RING." - Fan Death.

"Tada had participated in the workshop of Takehisa Kosugi (Taj Mahal Travellers) at the Bigakko. His name is
known as a main member of legendary improvisation group "East Bionic
Symphonia" and "GAP" (both LPs by ALM Records are very rare collectors
items) in mid 70s. Nowadays Tada mostly interested in photo installations
and sounds by woods, stones and many small objects." - Osamu Abe. "Live electronic sounds (mainly amplified natural instruments). Beautiful
package and artwork by artist. issued in 1997.
"This is Tada first CD featuring only electronically produced sound. Using
simple electrical mechanisms, Tada produces sounds ranging from strong
pulsing vibrations with a very physical element to soothing minimalist
sounds.
Everything from the CD package to the discs themselves have been designed by
Tada The leaflet bears images from a video of flowing water. The images and poems by Tada play out in picture book fashion." - SOH
Gallery. Highly recommended!

"Tada had participated in the workshop of Takehisa Kosugi (Taj Mahal Travellers) at the Bigakko. His name is
known as a main member of legendary improvisation group "East Bionic
Symphonia" and "GAP" (both LPs by ALM Records are very rare collectors
items) in mid 70s. Nowadays Tada mostly interested in photo installations
and sounds by woods, stones and many small objects." - Osamu Abe. "Spacious improvisation with sound objects [bamboo, branches, beanbags, line]
and live electronic sounds [minisynths, effector on wall, voice, body, video
image]. Gradually enveloping and slowly progressing minimal sound loops of
a very hypnotic nature. In gorgeous three fold digipack with reflective
panels (inside). issued in 1997.
"As the fifth in the series of Tada CDs following his "KU", "SON", "NE" and
"I", the artist sought to make this a new CD "MU" a composite work of sound
and the package visuals.
Juxtaposed in this compelling sound mix are the somehow nostalgic sounds of
material materials like stone and bamboo and bare branches cutting through
the air and the powerful, electronically generated sounds including recorded
elements like human voices.
The package images are created by a unique Tada technique he calls
electronic drawing (etching on the surface of photographs with an electric
soldering gun). On the three inside surfaces a mirror finish is used to
create infinite repetitions of the character "MU" which in Japanese both
"nothingness" and-in this case-"limitless."
This cutting-edge work by Tada combines the realms of "sound" and "art" as
only he can. " - SOH Gallery. Highly recommended!

"Tada had participated in the workshop of Takehisa Kosugi (Taj Mahal Travellers) at the Bigakko. His name is
known as a main member of legendary improvisation group "East Bionic
Symphonia" and "GAP" (both LPs by ALM Records are very rare collectors
items) in mid 70s. Nowadays Tada mostly interested in photo installations
and sounds by woods, stones and many small objects." - Osamu Abe. "Disc A
Recorded at live performances in the Netherlands (Eindhoven), Germany
(Dusseldorf, Munich) and Austria (Kramsach-Tirol) in May of 1994.
Disc B
Recorded at a live performance at the Shinkiba Warehouse Gallery in Tokyo in
December of 1993. In this experimental collaboration, Tada created sound on
a variety of mysteriously shaped objet of various materials by sculptor ITO
Makoto and a large steel sculpture by YAMADA Keiko. A third sound experience
is added by a Tada improvisation using his usual natural materials. In
addition to these two discs the set includes an original photograph from the
sky series Tada has been taking for more than a decade." - SOH Gallery. Highly recommended!

"Tada had participated in the workshop of Takehisa Kosugi (Taj Mahal Travellers) at the Bigakko. His name is
known as a main member of legendary improvisation group "East Bionic
Symphonia" and "GAP" (both LPs by ALM Records are very rare collectors
items) in mid 70s. Nowadays Tada mostly interested in photo installations
and sounds by woods, stones and many small objects." - Osamu Abe. "Spacious live improvisation with sound objects (stone, wood, bamboo) at SOKO
Gallery in Tokyo.Tactile sounds and their resonances as explored in a room
in a considered manner. issued in 1993.
"This is the second of Tada Masamis original CD recordings. His palette of
sound ranges from the transparent purity of sounds generated from natural
materials like wood, stone and bamboo to the subtlety of rare ethnic
instruments and the intensity of sounds born of violent action. Taped at a
live performance in a large warehouse, the acoustic qualities of the space
further accentuate the contrasts of sound." - SOH Gallery. Highly recommended!

"Tada had participated in the workshop of Takehisa Kosugi (Taj Mahal Travellers) at the Bigakko. His name is
known as a main member of legendary improvisation group "East Bionic
Symphonia" and "GAP" (both LPs by ALM Records are very rare collectors
items) in mid 70s. Nowadays Tada mostly interested in photo installations
and sounds by woods, stones and many small objects." - Osamu Abe. "The result of spontaneously live collaborations between performance artist
[known for inserting himself into restaging of famous art masterpieces] and
audio artist using voice, electronics, dance and other performance elements.
Quite strange electronic music. issued 1998.
"This is a recording from a live performance by Masami Tada and Yasumasa
Morimura.
These two artist first collaborated in a performance at Morimuras
exhibition Kokoro wo Kiru" (Wearing Ones Heart). This performance begins
with quiet, transparent sound and gradually escalates with dramatic
developments as Morimura dances and sings to Tadas sound improvisations.
The result is a sound experience in an unexpected dimension." - SOH Gallery. Highly recommended!

"Tada had participated in the workshop of Takehisa Kosugi (Taj Mahal Travellers) at the Bigakko. His name is
known as a main member of legendary improvisation group "East Bionic
Symphonia" and "GAP" (both LPs by ALM Records are very rare collectors
items) in mid 70s. Nowadays Tada mostly interested in photo installations
and sounds by woods, stones and many small objects." - Osamu Abe. "The artist edition limited to 300 copies. Full color gatefold sleeve with
insert. "The soundtrack is the same as on the CD "KOKORO" but it becomes a different
work of art as Masami Tada and Yasumasa Morimura add visual aspects
befitting the LP medium.
The front of the jacket features on of Morimuras self -portraits. On the
inside are a sequence of frame from the video recording of Morimuras
singing taken by Tada." - SOH Gallery. Highly recommended!

"Alex Cobbs Taiga Remains project pushes the exact opposite vibes as the name of his Students of Decay label. With use of nothing but guitar and pedals Cobb materializes lush and precise drones which seem to come directly out of the air. So heavy and powerful that they dont even seem to exist, nor could they come from any instrument / human. Total peace and solitude; meditative Eastern vibes transcendent in and of themselves. The A sides "Winter Tai-Tung" is a light and breezy trip through the mist, growing unconsciously, beyond notice until the track ends. The B sides "Spring Shan-Lin-Shi" recalls visions ten seconds of prayer service slowed down and stretched into ten minutes, like the sound right after a bell rings hung in static forever. In an edition of 100 tapes in oversized plastic cases with an insert and printed labels."- Arbor

"Here be the final drone/hypnogogic statement from Taiga Remains. The man behind Taiga Remains has now shelved this moniker; but hes far from hanging up his hat, as he now works under his given name Alex Cobb -- also known as the philosopher king who benevolently reigns over his Students of Decay. There are those at the Agency who can claim to speak with the poetics of corrosion, and we have long admired the sympathetic aesthetic in Cobbs gorgeously elegant compositions for guitar, bells, tape hiss, and whatnot. A sadness of things hangs in the air for Cobbs suspended mantras as these pieces evolve through a state of perpetual (un)becoming. For Cobb, the decaying sound is a steady dissolution of one chromatically rippling pattern into another which in turn diffuses into another and the cycle continues; but for every slippery note that pools into watery aquifers, Cobb distances himself from discursive and didactic languages that affix specific meanings onto work. He prefers a mystery and an ambiguousness to hang upon his crepuscular minimalism where the audience can entertain guided excursions of subjective thought. For us, these radiant guitar drones flecked with impressionist melodies bath in the snow of a thousand radios placed throughout Easter Island offering forth their eerie, luminous and beautiful sound that floats amongst those stoic heads that gaze beyond the horizon of the Pacific Ocean towards infinity, or oblivion if you prefer a more sublime reading. As the title to the album states, this album originally published in small cassette editions, long out of print. The material has been gloriously mastered for vinyl by James Plotkin. Those with an ear for Andrew Chalk, William Basinski and those long-form passages from Natural Snow Buildings will find much to celebrate in Taiga Remains." - Helen Scarsdale Agency.

"Two of Americas finest drone acts come together for this split LP. Taiga Remains is Student of Decays master mind Alex Cobbs project. If you aint picked up his new disc on Digitalis Wax Canopy yet, go get it, it is one of the best drone releases I have heard in a long time! The 15-minute track on this new split LP is entitled Mengku From Mengsa. Opening with far off chimes upon chimes, this leads to pure bliss dream zones, rather than the more intense material on the aforementioned Wax Canopy. This is a fantastic piece of drone work, layered to create some beautiful zoning out in the mind. RV Paintings is the project of Brian Pyle of the almighty psychedelia legends Starving Weirdos, along with his brother Jon Pyle, and Spencer Doran, who also plays under the name of Cloaks. This is an amazing track, kinda darker and bleaker than the Weirdos vibe, with some totally awesome free percussion playing central to the piece. This is hard to top in the drone game. A totally solid slab of sound from both acts. Limited to 400 copies." - Blackest Rainbow. Paste-on cover with insert.

"Urashima present a reissue of Taints Strange Feeling, Shit Coming, originally released on tape in 1993. Taint, aka Keith Brewer under one of his many aliases, is known to be one of the most authoritative and pervert act in the power electronics scene. A kind of juiced-up, Taint creates a brutal stew of screaming high-end feedback, crushing distorted scrape and corrosive furious vocals, overlaid with sheets of white noise. Strange Feeling, Shit Coming was released on legendary Japanese tape label G.R.O.S.S. in 1993, showing Taint at his best - fucking brutal. Pressed on 140 gram vinyl. Comes in a deluxe silver silkscreen on black cardboard sleeve with a black label and black inner sleeve. Includes insert. Edition of 199." Urashima.

"Originally issued as a double LP with each of the 4 tracks being roughly the same length as the side of a record, August 1974 presents the Taj Mahal Travellers at their most sophisticated. Although their stunning cosmic music was always improvised, the band, formed in 1969 by "six meta-music creators and one electronic engineer" played regularly throughout Japan and eventually found their way to Europe where they met up with avant-garde musicians such as Don Cherry. 1974 would be the bands last official release as they went their separate ways the following year with all but Takehisa Kosugi, leaving music behind them. Each track is distinct from the others, with several beginning with clearly-defined structure before departing into the realms of the abstract, with violin, harmonica, bass, tuba, trumpet and mandolin dueting in a subliminal and obscure manner. "Voices" both subhuman and supernatural, resonate with a universal inner voice. Digitally remastered, numbered limited edition. Includes LP insert."- Phoenix.

"Originally issued as a double LP with each of the 4 tracks being roughly the same length as the side of a record, August 1974 presents the Taj Mahal Travellers at their most sophisticated. Although their stunning cosmic music was always improvised, the band, formed in 1969 by "six meta-music creators and one electronic engineer" played regularly throughout Japan and eventually found their way to Europe where they met up with avant-garde musicians such as Don Cherry. 1974 would be the bands last official release as they went their separate ways the following year with all but Takehisa Kosugi, leaving music behind them. Each track is distinct from the others, with several beginning with clearly-defined structure before departing into the realms of the abstract, with violin, harmonica, bass, tuba, trumpet and mandolin dueting in a subliminal and obscure manner. "Voices" both subhuman and supernatural, resonate with a universal inner voice. Includes original insert. Hand-numbered limited edition of 1000; on 180 gram vinyl." - Phoenix.

"Official CD reissue of the first Taj Mahal Travellers album, licensed from Sony Japan. Originally issued by CBS in Japan in 1972, this has been incredibly in-demand for quite some time (this Showboat edition was first issued in 2001 or thereabouts and is now more widely available again). The precursor to the 2nd and final Taj-Mahal Travellers album, August 1974 (reissued on P-vine in the late 90s and still available), this represents Fluxus-inspired drone and improvisation at its peak. The line up for this album is: Takehisa Kosugi (electronic violin, radio oscillators & voice), Ryo Loike (electronic contrabass, suntool, harmonia & sheet iron), Yukio Tsuchiya (vibraphon, suntool), Michihiro Kimura (electronic guitar & percussion), Seiji Nagai (electronic trumpet, harmonica & castanet), Tokio Hasegawa (vocal), Kinji Hayashi (electronic engineer), Go Hamada (producer). Recorded live at Sohgetsu Hall, Tokyo on 7/15/72."-Showboat/Sky Station

"Takehisa Kosugi was a hippie who become an avant-garde composer. Born in Tokyo in 1938, he graduated in 1962 at the Tokyo University of Arts, and then founded the Japanese equivalent of the Fluxus movement, called Group Ongaku, a group devoted to improvisation and multi-media performances. In 1969 he formed the Taj Mahal Travellers, a psychedelic rock group that played lengthy improvised jams that can be summarized in three principles: a far Eastern approach to music as a living organism, an intense electronic processing of instruments and voices, and a semi-mathematical overlapping of frequencies. Basically: La Monte Young on acid. Kosugi mainly played violin. He was on the road with this group between 1971 and 1972, traveling in a Volkswagen minibus from Holland to the Taj Mahal itself. Two albums were made out of that experience: one of them this release, July 15, 1972. This is the first 180 gram vinyl release. Includes an English translation of the original Japanese LP insert. Digitally remastered." - Bamboo.

"Takehisa Kosugi was a hippie who become an avant-garde composer. Born in Tokyo in 1938, he graduated in 1962 at the Tokyo University of Arts, and then founded the Japanese equivalent of the Fluxus movement, called Group Ongaku, a group devoted to improvisation and multi-media performances. In 1969 he formed the Taj Mahal Travellers, a psychedelic rock group that played lengthy improvised jams that can be summarized in three principles: a far Eastern approach to music as a living organism, an intense electronic processing of instruments and voices, and a semi-mathematical overlapping of frequencies. Basically: La Monte Young on acid. Kosugi mainly played violin. He was on the road with this group between 1971 and 1972, traveling in a Volkswagen minibus from Holland to the Taj Mahal itself. Two albums were made out of that experience: one of them this release, July 15, 1972. Unavailable on CD for a considerable time, this important album now enjoys a timely reissue on Bamboo. Includes an English translation of the original Japanese LP insert. Digitally remastered." -Bamboo.

"1972 was a busy year for Japans favorite experimental rock band. After several months spent touring Europe, group leader Takehisa Kosugi (currently music director for the Merce Cunningham dance company in the USA) decided to make good on the bands name and embark on a monumental voyage across Europe and Asia, driving a VW bus from Rotterdam all the way to the Taj Mahal in India. Amazingly, the band got as far as Pakistan before having to fly the rest of the way to the Taj Mahal due to border restrictions. By July of 1972, the band was back home in Japan, and still playing nonstop. The three tracks on side A were recorded live during this historic tour, while side B was recorded a year later at the famous Oz Club in Tokyo, during a five day music festival celebrating the venues final days." Clear blue vinyl in clear plastic sleeve with black lettering (limited edition 500 copies)." -B13.

"1972 was a busy year for Japans favorite experimental rock band. After several months spent touring Europe, group leader Takehisa Kosugi (currently music director for the Merce Cunningham dance company in the USA) decided to make good on the bands name and embark on a monumental voyage across Europe and Asia, driving a VW bus from Rotterdam all the way to the Taj Mahal in India. Amazingly, the band got as far as Pakistan before having to fly the rest of the way to the Taj Mahal due to border restrictions. By July of 1972, the band was back home in Japan, and still playing nonstop. The three tracks on side A were recorded live during this historic tour, while side B was recorded a year later at the famous Oz Club in Tokyo, during a five day music festival celebrating the venues final days." Clear blue vinyl in clear plastic sleeve with black lettering (limited edition 500 copies)." - B13.

"After returning from a year-long tour of Europe and Asia, the group returned home to Tokyo for this concert. Originally released on CBS Japan in 1972, the concert remained out of print for decades and has never before been reissued on vinyl. The line up features Takehisa Kosugi on electronic violin, vocals and radio oscillators, Ryo Koike on electronic contrabass, suntool, sheet iron, and harmonica, Yukio Tsuchiya on vibraphone, Michihiro Kimura on electronic guitar & percussion, Seiji Nagai on electronic trumpet, harmonica, castanets, and Tokio Hasegawa on vocals. Orange vinyl in clear plastic sleeve with black lettering. Limited edition of 500 copies." -B13

"Recorded on 1 July 1971 in the geodesic dome at the Utopia & Visions 1871-1981 exhibition at the Moderna Museet in Stockholm, Takehisa Kosugis Taj Mahal Travellers were a Japanese experimental improv group active in the 1970s. The group, heavily influenced by Fluxus, used electronic effects to create their own unique improvised drones. White vinyl in clear plastic sleeve with red lettering (limited edition 500 copies)." -B13.

"Recorded on July 1 and 9, 1971 in the geodesic dome at the Utopia & Visions 1871-1981 exhibition at the Moderna Museet in Stockholm, Takehisa Kosugis Taj Mahal Travellers were the premiere Japanese experimental rock band of the 1970s. The band, heavily influenced by Fluxus, used electronic effects and a host of unusual instruments to create a series of improvised drones. Kosugi went on to become the music director for the Merce Cunningham Dance Company." -Klimt.

"Avant-garde composer and sound installation artist Takehisa Kosugi (musical director of the Merce Cunningham Dance Company) has led the Japanese avant-garde music scene since the early 1960s. In 1969 he formed the Taj Mahal Travellers, a musical collective that travelled the world in a VW minibus creating Fluxus-influenced improvised multimedia sound events. This double album (divided into two LPs), recorded live at the Nippon Columbia Studio in Tokyo in 1974, was the groups final effort before disbanding. Here Kosugi and the Travellers blend Eastern and Western instrumentation, vocal chants and electronics to create free-form psych-laden drones. This historic album is an essential and influential piece of Japanese avant rock. Part one, on clear vinyl in clear plastic sleeve with black lettering. Limited edition 500 copies." -B13

New lower pricing; 2008 repress. "Led by infamous Fluxus member Takehisa Kosugi, Tokyos Taj Mahal Travellers were one of the prime examples of a band more heard-of than actually heard. Their vinyl legacy (the 1972 LP July 15, 1972 released on CBS/Sony Japan; the 1974 2LP August 1974 released on Columbia Japan and recently reissued by P-Vine as a 2CD; one side of the mythical Oz Days Live 2LP compilation released on Oz in 1973 and recently bootlegged as a single LP) could dig a hole in your wallet deeper than the Grand Canyon. However, the recent reissues have spread the gospel and so here is the chance to hear the young Taj Mahal Travellers live in Stockholm during their tour through Europe in 1971. Its one 2-hour long improvised track. Enough free-floating higher key bliss to keep every grown-up space cadet happy for a lot longer.." From Julian Copes Japrocksampler: "This album is a discorporated, cerebral dance whose rhythm sounds like six weather Gods emulating the cover of Deep Purples Fireball by zooming around Silverstone circuit just inches above the track, each urging himself on by making engine noises: Eee-oww-urghh-ow!!!!!!! Opening with Ryo Koikes horizontally played bowed double bass, its my fave of Taj Mahal Travellers three releases, better even than the obstinate medication of the first official LP JULY 15, 1972, because theres twice as much of it. Meditatively, its extremely useful too: at the entrance portals of this live record, Ryo Koike uses his bass to invoke phlegm phantoms and cranny demons from the butt walls of Cronosian caverns; conjuring a sound as Biblical as Conrad Schnitzlers bizarre bowed cello on T. Dreams Electronic Meditation. Gradually, hesitatingly, almost imperceptibly, a violin theme installs itself, establishing over the next quarter of an hour clop-clopping hooves of hollow rhythm that conjure up the image of frustrated pastoralists driving their reluctant donkeys around the highest and most precipitous cliff edges, as their valuable cargoes sway and shudder and threaten to come untied at any moment. Recorded a full year before their first official LP, I think this in concert album is a far better and more confident shamanic statement, for this Stockholm recording melded together all six group members in such a way that no single musician rises from the primal soup long enough to establish his singular muse. The vocal effects are truly stunning, evoking everything from comb-and-paper voices playing Zeus in the sixty-metre deep Dhikhtean Antron to braying cartoon coyotes laughing to their deaths." -Drone Syndicate

"Comes in a Stoughton "Tip-On" jacket; Includes printed inner sleeves. Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takadas sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takadas first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzukis theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensembles innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takadas compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes." - WRWTFWW & Palto Flats.

"Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takadas sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takadas first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzukis theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensembles innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takadas compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes. CD version is the first ever available CD version; Comes with an eight-page booklet and fold-out poster." - We Release/Palto Flats.

"Comes in a gatefold Stoughton "Tip-On" jacket. Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takadas sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takadas first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzukis theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensembles innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takadas compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes." - WRWTFWW & Palto Flats.

"First release on the label by the son of avant garde pianist Yuji Takahashi, and a one-time member of Fushitsusha. "20 tracks self-recorded over a period of 10 years. Sound-wise its enticing mixture of Hammill-ish progressive rock, dark folk, medieval-influenced instrumentation and some almost Xpressway-like singer-songwriter stuff (entirely in English). Influenced by Arabian, Celtic and Chinese court music, James Joyce, biwa music (the traditional accompaniment played by blind musicians to recitations of Japanese epic poetry), Richard Thompson and Joao Giberto; impressive stuff."

"Anoyo No Dekigoto is a duo performance unit, consisting of dance by Yoko Muronoi and music by Ikuro Takahashi. The project has existed for four or five years, but this is their first release with any substantial physical footprint on this corporeal plane.
Takahashi has a lengthy history in the Japanese rock underground, dating back to his involvement with no-wavers Akebonoizu during the late seventies and early eighties. Since then he has been the drummer of choice for virtually everyone whos anyone on the scene. High Rise, Fushitsusha, Tamio Shiraishi, Kosokuya, ChŽ-SHIZU, Maher Shalal Hash Baz, and Nagisa Ni Te amongst others have all benefited from his propulsive, dynamic mastery of space. Solo, duo and more expansive projects under a variety of names including Aura Nihilitica, Lamones Young, and Of Dogstarman have revealed a hitherto unsuspected facility for environment-altering improvised drone and electronic drift. Muronoi too has a long CV of experimental dance work behind her, ranging from solo butoh pieces to multi-media collaborations with visual artists, filmmakers and musicians.
The name Anoyo no dekigoto means something like Happenings in the Other World, an entirely appropriate moniker for the indeterminate, non-linear and metaphysical nature of the communication between Muronoi and Takahashi during their improvised performances. The music is not simply a background score for the dancers movements. Takahashi even shies away from the description of what they do as communication. Rather, he refers to a complex series of negotiations between dancer, musician, environment, and audience that serve to create a sense of enveloping, trembling communal space. On these recordings, Takahashi takes his interest in electronics to another level. On one track he deploys over thirty tiny oscillators to create a constantly moving, deeply immersive field of higher-function insect chatter. Even without Muronois wraith-like physical presence, the music on this album exerts an eerie and oblique dominance over any room in which it is played. It subtly modifies the listeners perception of time and space, leaving behind a tangible and mournful reminder of its presence, like the luminescent tracks of some passing phantom slowly decaying back into incorporeality." -Alan Cummings. Edition of 300 in yet another incredible silkscreened jacket!

"Ikuro Takahashi might be a familiar name to some for his role as drummer/percussionist with many of the most notable Japanese underground acts of the past 25 years (High Rise, Kosokuya, Fushitsusha, Maher Shalal Hash Baz, LSD March to name but a few). On Domori to Sanshu he presents another look into his long running work with electronics. The two tracks on the CD consist of a live performance for oscillators and percussion followed by a computer composition in which Takahashi uses techniques of layering, looping and stretching sources to create immersive fields of sound. The live piece adds some space defining percussion for a brief temporal anchor before enveloping you once again in the high end chatter of up to 100 tiny oscillators. The computer piece by contrast offers no such reference points, instead leaving the listener submerged in a low end organic rumble that manages by turns to be both soothing and disorienting.
The first edition of this CD is limited to 250 copies and comes in a painted and screenprinted wooden slipcase with screenprinted inner sleeve." - Siwa.

"Arc Light Editions follows up two successful vinyl-only releases (Arthur Russell, Ingram Marshall) with Jone Takamäki Trios Universal Mind, a forgotten Finnish spiritual improv record from 1982, fully authorized by Jone himself. The tracks on Universal Mind are based on traditional Indian arrangements, with Japanese influence, leaning towards Alice Coltranes spirituality and pace. In addition to traditional improv instrumentation (saxophone, bass, drums), the record also includes synthesizers, gongs, finger pianos, a vibraphone and washbasins. Jone says, recalling making the record: "We played a lot together, daily, at our rehearsal space before recording. We went through the melodies and talked about how to handle them with a kind of different angle, improvised a lot with different sounds. We talked about tempos, especially we were diving deep into special moods, how each of those melodies talked to us. They are mostly old love songs from India, more folk songs than classical music." After the recording, they left immediately on a European tour. "I told the people at the record company not to do anything to the record before we came back, but it was released while we were away. We saw the record on the windows of different record shops when we drove into town from the tour!" The record has never appeared on CD, and the 1982 vinyl release has rarely been heard outside Finland. The only place the release has re-emerged in recent memory is with the track "Bhupala I" selected on Son of Arctic Hysteria, a CD compilation of Finnish avant-garde and experimental music." - Arc Light Editions.

Masayuki Takayanagi: guitar; Kenji Mori: alto sax, flute, recorder; Nobuyoshi Ino: bass Hiroshi Yamazaki: drums, percussion. "Long-awaited reissue of a true masterpiece of Japanese free improvisation! Mastered from the rediscovered master tapes! Recorded in May 1975, less than a month after the legendarily intense April is the Cruellest Month, Eclipse has always been the rarest and most mysterious of the Takayanagi and New Direction records. With April Is... due to come out on ESP Disk (the release was scuppered when the label folded), Iskra the small label who were putting out Eclipse decided to reduce their pressing to just 100 copies. The original master tapes then vanished, and original copies of the LP began to change hands for huge sums on the collectors market. Eclipse sees the same group that recorded April Is... and the two volumes of Axis playing at a dizzying peak of telepathic empathy. Grimly ratcheted tension, whooping freedom, slash and burn explosions, and the unmistakable hovering, molten whine of Takayanagis guitar... simply put a classic, classic record that needs to be heard by anyone with an ear for freedom sounds." -Alan Cummings

"Action Direct was first released by Kojima ALM Records in 1985 in a tiny run and has been elusive ever since. Now, twenty years later, Tiliqua restores it to its former glory in the form of an identical limited LP edition (of 250 copies) and a first time ever limited CD edition (of 800 copies). The CD version is carefully crafted and housed in a deluxe fold out sturdy carton mini-LP styled record sleeve (hand numbered) complete with fully detailed and extensive liner notes by Alan Licht and Johan Wellens. The LP comes as a hand numbered deluxe hard carton single jacket edition containing an explanatory insert that is printed separately on high quality glossy paper. Both editions are true beauties to behold, doing the music and Takayanagi justice. As far as the music is concerned, I leave you with a few quotes lifted out of the liner notes in order for you to get a glimpse of the stratospherically heights the music tends to skyrocket into. �??Action Direct is his final extension of his Mass Projection/cool mode - the spaces in his playing now filled in with tapes and effects instead of reeds, bass, cello and drums, the sustain now applied to a wall of sound rather than simple guitar feedback, the spare gestures now appearing against a self-created backdrop of noise. And show a progression similar to Miles Davis pre-fusion mid-60s albums, whose increasing use of pulse suggested rock without directly referencing it; Action Direct could be seen as Takayanagis Bitches Brew (AL) Action Direct embodies a certain duality, a dichotomy between musician and instrument, machine and man and between science and art. While bestowing his concept with the character of music (or musical collage), Takayanagi set out to transcend and empower the physical identity, reality and significance of the individual sound atoms that lay at the core of this conceptual piece. By unleashing a vast array of demonic sonic clusters and fragmentation bombs, he created a new sonic language that vibrates through our present-day existence" - Tiliqua.

"Action Direct was first released by Kojima ALM Records in 1985 in a tiny run and has been elusive ever since. Now, twenty years later, Tiliqua restores it to its former glory in the form of an identical limited LP edition (of 250 copies) and a first time ever limited CD edition (of 800 copies). The CD version is carefully crafted and housed in a deluxe fold out sturdy carton mini-LP styled record sleeve (hand numbered) complete with fully detailed and extensive liner notes by Alan Licht and Johan Wellens. The LP comes as a hand numbered deluxe hard carton single jacket edition containing an explanatory insert that is printed separately on high quality glossy paper. Both editions are true beauties to behold, doing the music and Takayanagi justice. As far as the music is concerned, I leave you with a few quotes lifted out of the liner notes in order for you to get a glimpse of the stratospherically heights the music tends to skyrocket into. Action Direct is his final extension of his Mass Projection/cool mode - the spaces in his playing now filled in with tapes and effects instead of reeds, bass, cello and drums, the sustain now applied to a wall of sound rather than simple guitar feedback, the spare gestures now appearing against a self-created backdrop of noise. And show a progression similar to Miles Davis pre-fusion mid-60s albums, whose increasing use of pulse suggested rock without directly referencing it; Action Direct could be seen as Takayanagis Bitches Brew (AL) Action Direct embodies a certain duality, a dichotomy between musician and instrument, machine and man and between science and art. While bestowing his concept with the character of music (or musical collage), Takayanagi set out to transcend and empower the physical identity, reality and significance of the individual sound atoms that lay at the core of this conceptual piece. By unleashing a vast array of demonic sonic clusters and fragmentation bombs, he created a new sonic language that vibrates through our present-day existence"- Tiliqua.

"New release in Tiliqua Records ongoing Archival Series is this quintessential album by Takayanagi Masayuki. It was his debut recording as a leader with his newly erected unit The New Directions, a trio consisting out of bassist Yoshizawa and drummer Toyozumi "Sabu" Yoshisaburo. Recorded at the Teichiku Kaikan studios on 18 September 1969 (released in 1970), "Independence �?? Tread on Sure Ground," is largely regarded as the first true classic of Japanese free jazz. The group thrashes out an entirely new Japanese methodology for improvisation based on Takayanagis theories about progressive art. As Alan Cummings explains in his liner notes, the groups sonic outburst is pregnant with an urgent intensity similar to a violent rotating windstorm. "An electric guitar string is pinged with a sour and markedly unlovely resonance. It is left to fade away naturally, its dying whisper replaced with a wavering feedback tone that grows steadily in volume and thickness. Against the slow feedback wave, a sudden loud percussive crash, urgent staccato rolls across the toms, and the dry rasp of a rattle. A choppy, non-sequential series of chords from the guitar, still mouth-puckeringly bitter is set against the warmer resonance of an alternately bowed and plucked double bass. Each instrument sounds self-contained, like lunar bodies spinning on their own axes at different tempos, but locked together by unfathomably complex rules of motion. Additional percussive rattles and scrapes have been overdubbed to fill in the blank space. Tendrils of feedback snake in and out, like cosmic dust from some cataclysmic celestial event. The playing is exploratory and deliberate, technically adept and keenly judged, easily sustaining interest and motion across the tracks eleven minutes. Its sense of focused concentration is more akin to the European free improvisation of AMM or The Spontaneous Music Ensemble than the violent ecstasies of American fire music.�?� - Alan Cummings �?? from the liner notes. The CD reissue includes also the bonus track �??Mass Projection�?� which was originally issued on the compilation album Guitar Workshop (Teichiku, 1970). This CD is housed in a high quality mini-LP styled gatefold sleeve, completed with obi and extensive 4-paged illuminating liner notes by Alan Cummings. Original artwork is faithfully reproduced. One time only limited pressing." - Tiliqua.

"Another previously unreleased archive release from Takayanagi, the premier Japanese free-guitar stylist. Recorded live in 1970, waves of trademark feedback abound, but also some more serene segments with flute, freedom atmospherics, etc. Not as overwhelmingly brain-bombing as his previous release on the label (PSF 41), but definitely another important piece in the crucial documentation of Takayanagis career."

"Takayanagi is the premier free-guitarist legend in the Japanese underground story. This CD features unreleased material by the master, from 1970. The sound is heavy improv, with Takayangis explosive feedback wail in prominent display. As fine an introduction to his music as you could hope for (most of his albums from the 60s & 70s are impossible to track down)." - FE.

"Triple 7" version, packaged in a special slipcase. Tokyos Ryo Takematsuproves the universality and timelessness of the blues on his debut solo release Six-O-Seven Blues. Recorded mainly in a Japanese bedroom, Takematsus heartfelt and sincere acoustic guitar-playing filters his love of pre-war American country blues through the more relatively recent influences of John Fahey and Backwards Sam Firk; the seven pieces here, on three 7" records, slingshot these influences through space and time, from America in a previous century to 21st-century Japan and on to the wider world. Bookended by opening and closing collaborative tracks, Takematsu, one of the founding members of EM Records stalwartsNoahlewis Mahlon Taits, rides solo for the bulk of the tracks, sounding relaxed and focused. The opening title-track, by Takematsu, features some guest percussion from his bandmates, and the final track is a remix, byTomoki Kanda, of John Faheys "On Doing an Evil Deed Blues." Two more tracks by Fahey appear, plus songs by Skip James and William Moore. This time-travelling set is a charm." -EM.

"Alga Marghen proudly presents one of the highlights of his catalogue, an exclusive LP edition with the recordings of Takis electro-magnetic sculptures. Takis is the originator of this new approach to the musicality of sound, which consists in laying bare the repetitious structure of musical form and its functional derivation, thus rejecting the symbolism of representation. Takis was born in 1925 in Athens. Preferring, as a matter of principle, to teach himself rather than study in an institution, he left Greece in 1954 and lived as a citizen of the world, traveling through Europe and the USA. Some of his earliest manifestations in the 1940s consisted of explosions carried out in open places. His first Signals date from 1954: they were rods consisting of piano wires which created musical vibrations as they stuck against each other in the wind. In fact they constituted the first appearance in his work and in contemporary art history of a form of musical expression in which sounds are called forth in an un-programmed way, owing to the action of natural forces. In 1961 Takis meets Marcel Duchamp in New York. Duchamps perpetual moving bicycle wheels inspired Takis hydromagnetic sculptures. In the period between 1964 and 1965 Takis conceives his Pendules magnètiques and constructs his first Sound Sculptures. After the exhibition of Takis titled Electro-musical relief at Indica Gallery in London in 1966, the New Scientist magazine in an article entitled The sounds of tomorrow commented that Takis, Iannis Xenakis and John Cage are the most promising musicians of the century. Takis Pendules magnétiques are based on the simple concept of using magnetic waves caused by electricity as a means to activate repeated musical sounds: the latter are to be heard every time a needle strikes a string, when attracted by a magnet. The sounds reproduced in this edition were recorded in 1993 by Samon Takahashi at Takis retrospective at Jeu de Paume in Paris. Takis participates in 1984 at the exhibition titled The Century of Kafka at Centre Pompidou in Paris and sound work with the same title is also reproduced on this LP edition. As an artist he seeks a natural origin for the construction of sound, and in particular that origin which is furthest removed from the artists arbitrary decision. For about forty years now, it has been Takis purpose to investigate language as a natural function, conceiving function as a form of work. Furthermore, he has broken down the frontiers between sculpture and music in a number of pieces which can only be read by identifying their functionalism as structured units, with their morphological, visual and acoustic aspects. Edition limited to 380 copies with full-color sleeve, printed inner-sleeve reproducing a testimony by Marcel Duchamp and insert with photos of the Pendules magnètiques and a testimony by William Burroughs." - Alga Marghen.

"LP release. Determined to continue collaborating with revolutionary blitzkrieg musicians in perpetuity, Brooklyns Talibam! (Matt Mottel and Kevin Shea) were set up on a blind date with Alan Wilkinson by Bo Weavil Recordings for a London basement show in May 2008. Like a late 60s Sadean love-in ripe with Joycean epiphanies, Talibam! heard in Wilkinsons tone the strength and grit of a fine British pint served cool and fresh... a perfect energy to swing-bounce their roly-poly hieroglyphic dance mayhem. A second gig happened in fall 2008, followed by this recording in winter 2009. If Talibam! and Wilkinson were a rugby team, theyd be in first place, trouncing competitors with more riff-hard tenacity and more powerful/declarative end-zone dances. Balancing contradictory cultural fragments into a psychedelic yin and yang power drive of glitch emission, sprezzatura horns, Zarathrusta organ drone launch, and sayanora-rama drum spills, Wilkinson, Mottel, and Shea turn animatronic nihilists into veritable musicological sexphorisms -- they cut the tension on the dancefloor like that abrupt liminal point between peace and footsie, between donuts and bagels, between lizards and turtles. These three dangerously handsome myriad-men from the future have materialized mixed signals into sharp-fanged foreign accents on this red-eye voyage to vinyl metropoly, a 2-sided ecosystem of Gatsby-killer morph-prov entitled Dem Ol Apple Pie Melodies. Limited edition of 350 hand-numbered copies. Lavish heavyweight matte sleeve with insert, designed by Damien Beaton." -Bo Weavil

"Since 2003, NYCs Talibam! have been charting a course through the improv waters in a way that few other groups can pull off. Rock, jazz, noise and all stops in between collide in an aggressive mix that defines free music in the best sense of the term: nothing is deemed out of bounds. Too much fun to be a po-faced postmodern exercise, and too expertly played to be sunk in a morass of good intentions, The New Nixon Tapes hurtles through two side-long pieces in an agile cascade of rhythmic and melodic ideas. Kevin Shea (drums) and Matt Mottel (synthesizer) have worked with Cooper-Moore and Rhys Chatham, among others; here theyre joined by master saxophonist / trumpeter / flautist Daniel Carter. Recorded live in the WFMU studios. MP3 download coupon included." -Roaratorio

"Taliban lurches about with seasick electronics. They move from stuttering wooze to an avalanche of filth with the kind of style it should take years to develop. Dudes are alright. Taliban is the duo of Miles Haney (Evenings, Tapeworm Tapes label), and Joel Rakowski (scientist).
Flip the thing over, and Paranoid Time is smacking around the head and neck with a pile of static crunchers and tape. Amplified vocal vomit makes the guy sound like he needs a drink.
This record is a co-release between SNSE and the very great Tapeworm Tapes label. It marks the first vinyl appearance for both artists."

"Double A-sided treasure from one of the finest duos around, TALK NORMALs first new material in quite some time, and boy is it something to behold. A tantalizing window into what lies ahead for them, truly. Sleeve art by the esteemed KIM GORDON (before you ask, yes.) A TRUE STUNNER. 2nd edition of 200 copies on mystery color vinyl." - MLadys.

"On this five-song E.P., Brooklyn-based duo Talk Normal drummer Andrya Ambro and guitarist Sarah Register create a nice racket that does a deft job of splitting the difference between harsh sonics and the essential song-oriented structures required of noise rock. Neither a band in which noise is merely a bi-product of a savage attack nor an overtly experimental outfit steeped in this or that high concept, Talk Normal come off as an organic self-contained unit that extracts as much as they can from their explicitly minimal approach. Sure, there are some obvious touchstones here Sonic Youth, Magik Markers, Ut, Teenage Jesus but the songs never feel derivative.
Though various sorts of processed sounds work their way in and out of the picture, the bands aesthetic is built on a basic foundation of guitars, drums and vocals. The duo are clearly working within a dark, neo-now wave framework, yet theres some variety, too. They can sound both hyper and dirgey, calling to mind heat-soaked basement shows and cold moldy practice spaces alike. Grinnin in Your Face opens the album and establishes the Talk Normal template, squiggling moans of feedback, a simple lurching riff, and a dual vocal attack all buoyed by frenetic drumming. Eureka then uses a Branca-style guitarscape as foundation for a sing-speak vocal monologue direct from early 80s downtown NYC. Lemonade rides a catchy little groove early on, and then builds to a drum-guitar/freak-out zenith.
Perhaps the most curious aspect of these tracks, however, is that despite whatever stabs of sound punctuate the atmosphere, or whatever structural shifts might occur, theres always a simple, repetitive pulse present, not so much an anchor as a telltale heart of suppressed aggression. Even on the sets most distinctive track, the stark finale Rest With Me, theres a tension lurking, played out via a subtle, yet insidious throb.
Talk Normal are making their music amidst an increasingly cluttered underground landscape, and the duos seeming intrepidness in the face of that fact shines through. Theyve cultivated their own voice that, when combined with that strange festering energy, should make for solid stuff with each successive release." - Nate Knaebel/Dusted. Released on Little Claws inhouse label. "Mass market" edition of 500 copies, printed covers.

“As the opening liner notes proclaim, Weeville is "the first straightforward LP by Tall Dwarfs - uh...in terms of having the same number of tracks on each side -- both of which play at the same speed and which aint a compilation." Nonetheless, their 1990 release is filled with the Tall Dwarfs eclectic mix of homespun psychedelia, densely textured pop songs and a wallop of hard nosed punk.
The Tall Dwarfs are a partnership between New Zealand home-recording pioneers Chris Knox and Alec Bathgate. A duo, who have been making music together since 1977, first in New Zealands early punk band, The Enemy, followed by Toy Love. In 1981, Chris and Alec returned as the Tall Dwarfs. They purchased a four track, and over the next 30 plus years would release wonderfully demented records and go on to influence bands such as Pavement, Yo La Tengo, Neutral Milk Hotel and countless more.
Now, re-issued again on LP and CD, Weeville is wired with hypnotic tunes, weird and wonderful instruments and brilliant songwriting. Whether that be the raw spookiness and two guitar harmony of "Breath" and "Crawl" or the oddly compelling "Skin Of My Teeth" and "Bodies," all brushed with a scent of the macabre. Along with a 20 page booklet featuring the duos individual art and design, Weeville is a fantasy land built on tape loops, feedback and distortion. Its pop music just how they like it.” - Flying Nun.

“As the opening liner notes proclaim, Weeville is "the first straightforward LP by Tall Dwarfs - uh...in terms of having the same number of tracks on each side -- both of which play at the same speed and which aint a compilation." Nonetheless, their 1990 release is filled with the Tall Dwarfs eclectic mix of homespun psychedelia, densely textured pop songs and a wallop of hard nosed punk.
The Tall Dwarfs are a partnership between New Zealand home-recording pioneers Chris Knox and Alec Bathgate. A duo, who have been making music together since 1977, first in New Zealands early punk band, The Enemy, followed by Toy Love. In 1981, Chris and Alec returned as the Tall Dwarfs. They purchased a four track, and over the next 30 plus years would release wonderfully demented records and go on to influence bands such as Pavement, Yo La Tengo, Neutral Milk Hotel and countless more.
Now, re-issued again on LP and CD, Weeville is wired with hypnotic tunes, weird and wonderful instruments and brilliant songwriting. Whether that be the raw spookiness and two guitar harmony of "Breath" and "Crawl" or the oddly compelling "Skin Of My Teeth" and "Bodies," all brushed with a scent of the macabre. Along with a 20 page booklet featuring the duos individual art and design, Weeville is a fantasy land built on tape loops, feedback and distortion. Its pop music just how they like it.” - Flying Nun.

"Although the Sydney-based Tamam Shud (the unusual name is probably a corruption of Taman Shud, borrowed from The Rubaiyat of Omar Khayyam) was formed in 1967 by singer/guitarist Lindsay Bjerre, the band only sprang to prominence when their superb debut album, Evolution , was issued by CBS (SBP 233761) in 1969. Having established themselves with Evolution , the band went on to record their opus major for Warner Bros in 1970 in the form of the ambitious Goolutionites And The Real People (WS 20001), a stunning and imaginative work dominated by the prodigious talents of 16-year old guitarist, Tim Gaze. Gazes precocious guitar work was conspicuously present throughout the album, although it was on A Plague and Stand In The Sunlight, both of which were to appear as 45s, that his playing really shone. Although Gaze left the band immediately after the albums release to join Kahvas Jute, he returned later the same year, and remained in the group until it disbanded in 1972. Goolutionites is widely recognised as one of the finest Australian prog-psych offerings of all time." - Radioactive.

"Two artists from the Ersatz Audio family. Magas (ex-Lake of Dracula, COUCH)
and Sam of Tamion now of Adult. These are both well recorded live shows from
Chicago in 2003. Packaged in yellow/blue satin pouches." - Nihilist.

"Unlikely fan club reissue of this legendary KDB/DIY double-header from these wild Italo no-counts, originally released in 1979: the Tampax side pretty much has to be heard to be believed, "UFO Dictator" comes over like Crime-plays-The Boredoms-plays-Afflicted Man, with wailing "San Franciscos Doomed" style six string scorch and explosive solos that come over like the DIY equivalent of Bowies Raw Power mix while "Tampax (In The Cunt)" comes across as the model for the hysterical avant/refusenik moves of Mattins Billy Bao project, with one of the most insane vocal performances ever puked by an Italian over some of the most wretched avant noise ever strangled from a guitar. And thats just the first side! On the flip Hitler SS contribute three tracks that cross the snot of The Kids and European madmanisms with amphetamine garage, inept Ramones rips and massively crude two-second solos: "Somebody say the punk is dead" – not on this planet baby! Simply put, one of the greatest singles of all time. Highest possible recommendation!" - DAVID KEENAN, Volcanic Tongue.

"A hotline to the gods! Kagura is a thousand-year-old form of Japanese Shinto sacred music and dance, accompanying the chanting of myths; the word “kagura” can be translated as “god-entertainment”. Passed down over countless generations, the music is rare and recordings even rarer. Shigeo Tanaka was a master of the yumi (bow), an uncommon single-string percussion instrument, which is a true bow: arrows are fired off at the end of each ceremony to fend off evil sprits. The instrument is difficult to play; its hard to draw out the proper sound and maintain the rhythm. Yumi Kagura is the oldest of all the various forms of Kagura. The Tanaka family, based in rural Jōge-cho, Hiroshima prefecture, has passed down this yumi kagura tradition for hundreds of years; this lineage continues to this day in the person of his daughter Ritsuko Tanaka. The Jōge-cho yumi kagura, which prays for family well-being, bountiful crops and good fortune, was designated an Important Intangible Cultural Property in 1971. The piece featured here, “Takusa saimon”, based on the myth “Ama no iwato” (The Rocky Celestial Cave), is mesmeric, reaching back across ages to the time before time, with Tanakas voice and yumi, accompanied by flute and metal percussion, drawing us closer to the primal activities of the gods. Listeners may find affinities with aspects of musics as diverse as German electronic minimalism like E2-E4, certain Ethiopian music, “spiritual jazz” and more, all tapping into the deep root of forever. Previously available only on a ridiculously obscure 1991 cassette release, Yumi-kagura is the first collaborative release by EM Records and Riyo Mountains, a Japanese folk song research team." - EM.

"once only thought of as a strictly acoustic cello and guitar duo, tanaka nixon meeting have been secretly forging ahead into the realm of electronic dance music for some years now. danny butt and michael morley have been practicing in nightclubs and warehouses laying down solid slabs of distorted piano samples and wrenched from the collective archive of 18th century piano music through to the 20th century post-modern noodling."twelve inches heaven" is the bands second long player recording in the 12" vinyl format and reflects the groups growing involvement in random sequencing applications and the relevance of down right dirty funk in the now." - Hells Half Halo.

"The great long-lost album from U.S. hard psychedelic 60s band Tangerine, released in 1971. Musically in the style of Iron Butterfly or Banchee, with great fuzzed-out guitars, booming bass and screaming vocals, including "My Main Woman," a 14-minute long spaced-out track. Remastered sound from the original tapes." -Out-Sider.

"A compilation of rare tracks by German avant pioneers, Tangerine Dream, beginning with a rare single from Edgar Froeses pre-TD band, the Ones (a psychedelic affair recorded in 1967, before Froese had fully distanced himself from rock music by selling off his guitars for a host of constantly changing electronic gizmos). The remaining tracks come primarily from their successful Virgin period, with Christopher Franke on drums and Johannes Schmölling on keyboards. Features the CD-only bonus track Landing On 51." -Lilith

"Kent Tankred, born in Stockholm in 1947, is a composer, an artist and a
performance artist. The connection between sounds and pictures is
evident in his sounding sculptures and in the "visual" musical
instrument, The Concresizer, he has constructed. Kent Tankreds
compositions can be characterized by complex textures and spaces in
which small details are of significance. As a listener, one must tune
into the micro planes of his sound landscape. The text ⿝King James Bible
Book of Revelations⿝ is the structuring element of all the compositions
on this CD. In different ways and in many levels the text is transformed
into something new, to revel the hidden words, the message." - Firework Editions.

"Lithe clarinet dances around tranquil piano, relaxed guitar decorates velvet synth textures and unhurried percussion makes an occasional appearance, as if to remind us that times still passing. Spring might not yet have sprung, but the Growing Bin is always in bloom. After brightening our days with the opiate beauty of Barthel, Bohm and Bauer and the dusky grafts of Moon B last year, Bassos well tended imprint begins 2016 with an antipodean gem. The green fingered, or thumbed, among you might recognise A.R.T. Wilson from his time in the Growing Bin a while back, when he soothed our cares with the drifting dreamscape of Overworld. Now the sometime club menace returns to Hamburgs finest label in the company of numerical pioneer Eleventeen Eston AKA John Tanner for another journey into the heart of the horizontal. Setting up camp where the Swan River meets the Indian Ocean, Wilson and Tanner tuned into nature, translating the warm sun, sea air and blue sky into a postcard from paradise.

Employing an innovative alfresco recording technique, Andy and John invited members of the local animal community to join their jam sessions, saving a Blue Swimmer Crab from the flames of the barbecue and encouraging him to claw the ivories. Drop the needle and drift away on the distant ocean of “Pilot”, freefall into the soothing ambience of Further Than Your Headlights, and let “Sun Room” guide you gently back to terra firma. The dream team of Australian musicians (not to mention a very talented crustacean), come together on one vinyl – and its better than you could possibly imagine." - Growing Bin.

"Shifting tectonic plates, as two island nations collide! London resident Jackson Bailey aka Tapes makes Jamaica-drenched lo-fi bass music, a forward-looking mix of dub, dancehall, and electro roots channeled and filtered through old-school rhythm machines, synths, spring reverb, and delay. Recorded with glorious grit on cassette, sometimes in the red, tape hiss intact but somehow sounding bigger, better and beatier than it should, with a sweet analog patina. Theres an aquatic feel here on this first full album from Bailey, a rich brew of deep and soulful sunny JA roots, hints of UK melancholy and industrial smoke, even some icily funky NYC early electro. With an old island soul and a new ear to the future, this first album from Tapes features six previously unreleased tracks plus ten tracks previously issued on his own label and other labels, including Jahtari, in various formats, included here with remastered sound in previously unreleased mixes. With a total running time of 43 minutes, these 16 tracks are available on CD and double LP (45 RPM). UK, JA, NYC: all these letters, and more, spell Tapes. Front cover art by Jimmy Cauty (The KLF). Co-production of EM Records and Corner Stone Music." - EM.

"Shifting tectonic plates, as two island nations collide! London resident Jackson Bailey aka Tapes makes Jamaica-drenched lo-fi bass music, a forward-looking mix of dub, dancehall, and electro roots channeled and filtered through old-school rhythm machines, synths, spring reverb, and delay. Recorded with glorious grit on cassette, sometimes in the red, tape hiss intact but somehow sounding bigger, better and beatier than it should, with a sweet analog patina. Theres an aquatic feel here on this first full album from Bailey, a rich brew of deep and soulful sunny JA roots, hints of UK melancholy and industrial smoke, even some icily funky NYC early electro. With an old island soul and a new ear to the future, this first album from Tapes features six previously unreleased tracks plus ten tracks previously issued on his own label and other labels, including Jahtari, in various formats, included here with remastered sound in previously unreleased mixes. With a total running time of 43 minutes, these 16 tracks are available on CD and double LP (45 RPM). UK, JA, NYC: all these letters, and more, spell Tapes. Front cover art by Jimmy Cauty (The KLF). Co-production of EM Records and Corner Stone Music." - EM.

"Includes digital download. Previously unreleased homemade recordings from 1971 by Barcelonas hairiest power trio, Tapiman. Raw, in-your-face, hard-rock and proto-metal, plus some surprising psychedelic, Canterbury-styled moves. Featuring the very first line-up of the band comprised of killer guitar player Miguel Ángel Núñez, the legendary Tapi (ex-Máquina) on drums, and Pepe Fernández on bass. Includes a cover of Black Sabbaths "Planet Caravan", a killer first version of "No Control" featuring Núñez on guitar (later recorded again for their first album with Max Sunyer), the proto-metal sounding "Hard Drive" (previously unreleased), and more. Deluxe insert with detailed liner notes and rare photos." - Guerssen.

"Originally issued on the Lexicon Devil label in 2005. In 1982, the Tar Babies were burning up half-pipes and blazing venues with their hyper-speed punk rock. More well known for their late 80s LPs on the famed SST label, in which they veered towards a more DC-influenced "punk-funk" sound, and the subsequent acclaim that their drummer, Dan Bitney, acquired with Tortoise, the Babies were also one of the great, and tragically overlooked Midwestern hardcore bands of the original era, releasing two phenomenal 12" EPs on their own Bone Air imprint in 83 and 85, respectively. This CD hopes to rectify that obscurity by putting these two long-out-of-print discs back onto the marketplace for the first time on CD, with a ton of bonus material as a special treat. Inside you will find: The complete Face The Music and Respect Your Nightmares EPs, which featured early production work by Bob Mould and Butch Vig; "The Ocean" track from the Master Tapes 2LP; "Calebs Getting Mad" from their 5-song demo cassette from 1982 (the other tracks are on FTM); five previously-unreleased songs from the era, taken from the vaults of the TBs Bucky Pope, as well as alternate versions of two EP tracks; reproductions of the original artwork from the EPs, plus a collage of flyers, photos and reviews from the era in a 10-panel booklet. Liner notes from Bucky Pope himself. All of this has been digitally edited, sequenced and fiddled with by Melbourne-via-Chicago audio whiz-kid, Casey Rice. The music the Tar Babies were pumping out in 82/83 was an awesome collision course of Black Flag-style tension/release and heart-thumping thrash copped from a heavy diet of Minor Threat 7"s. Think the ferocity of early Die Kreuzen, Negative Approach, Necros, and youre in the ballpark. By 85, things had changed. The pace had slowed a touch, and most of all, Bucky was pumping out highly inventive riffs in an angular Eddie Hazel/Hendrix/Greg Ginn vein. Sharing the stage with a host of HC heroes and a bevy of SST folks criss-crossing the U.S. on their never-ending tours, the band caught the attention of Mr. Ginn and the rest is history. That is, of course, except for their 1982-1985 output. That is all here, and its a rip-snorting collection. 25 tracks and 47 minutes of trailblazing, fist-pumping slampit rama-lama from a time when people really meant it."- Lexicon Devil. Highly recommended!

"A Turkish Leprechaun by birth, with a childhood fully immersed in music and art, Jem Targal first made his mark as vocalist/bassist/main songwriter for Detroit power-trio legends THIRD POWER (their lone Vanguard album from 1969 still rightfully well-regarded today). After the band split in 1972, a despondent Jem took up home recording, laying down hours of tape on a Teac 4-track machine. Jem selected the best cuts from these solo sessions in 1978 and released �??Luckey Guy�?��??pasting the gatefold covers and handling all sales himself in true DIY fashion. The album never stays still with one style for too long, but rather drifts along with spaced-out guitar (Bumble Bee Drive), tortured, dissonant piano (Ring Out The Bells), culminating in a sparse, apocalyptic tale (The Bomb Tune), with bits of childlike whimsy and Jems eerie harmonies woven throughout, not to mention a few musical touches that indicate its mid-1970s vintage. Were we to shamelessly namedrop, we might mention Syd Barrett, Skip Spence, Brian Wilson and Gary Wilson as starting points... But were above that, for its the first ever appearance on compact disc of this odd and eclectic bit of loner folk/psych. The label tracked down the master-tapes, miraculously still in storage at the original pressing plant, and created a mini-LP sleeve replica of the original album jacket, that includes an insert booklet with liner notes and newly-transcribed lyrics handwritten by Jem himself. Audio digitally transferred, with no added compression or equalisation, from the 1/4" analogue two-track master reels.�?� - Obscure Oxide.

"Tarkus was born after the 1971 split of Telegraph Avenue, one of the most popular Peruvian bands at the time. TA member Walo Carrillo was joined by Argentinean musicians Guillermo Van Lacke, whom he had met previously in Lima, and 16-year-old Dario Gianella. They got together and started making music very influenced by bands such as Black Sabbath, Led Zeppelin, Cream, and Deep Purple. They immediately developed a heavy, hard rock sound uncommon in Peru, and asked former Telegraph Avenue member Alex Nathanson to join them. They recorded their first album between April and May of 1972 for the MAG record label, which was expecting something closer to Telegraph Avenue and didnt know how to market such a heavy sound. Soon after, guitarist and main composer Dario Gianella decided to leave the band to follow his religious faith, just before they presented their debut LP live. As a result, the band disintegrated without making their official debut and only around 50 promo copies of the album were actually distributed. Time has given this LP the significance it rightly deserves as one of the foundations of Latin American hard rock, and Vinilísssimo is proud to present this new vinyl reissue. Housed in a gatefold sleeve; on 180 gram vinyl." - Vinilisssimo.

“Tarotplane is the solo project of Baltimore-based musician PJ Dorsey. First, his full-length debut, is a tremendous album etched on the great krautrock and experimental psychedelic records from the 70s. Vintage electronic sounds are mixed with effected guitar parts. It might sound quite familiar at first, but once one enters the heart of the album it all gets spectacularly exhilarating and effortlessly captivating, swirling around the listener. Records such as Franco Battiatos Pollution, Bill Holts Dreamies, Popol Vuhs Affenstunde, and Deuters D were strong influences. All of these artists use tape loops, environmental sounds, filtering, and other effect processing in an exceptional way. Their desire to create their own distinct sonic world was the driving influence behind this LP. These artists never let the experimentation get in the way of creating something musical, beautiful, and sonorous. First integrates those influences but it also has a more traditional psychedelic rock sound built into its sonic viewpoint. Dorsey seamlessly blends these diverse influences into a continuous flow. The album was originally going to be called Excursions, because Dorsey would walk for hours on Baltimores waterfront listening to fragments of his work, as well as samples from films and records, to find a balance that worked. The ultimate goal was to make what some would call a head record. Something you can listen to on your own personal excursions that evokes a distinctive and enjoyable sonic headspace.” - Aguirre.

"Synth-duo Tarp is made up of Joshua Burkett (Vermonster, Believers, solo, etc.) and Conrad Capistran (Sunburned Hand of the Man, Sephiroths Knot). Two tightly edited masterstrokes flank the sides of this 7", taking Tarp out of their familiar live setting and thrusting them under a sonic microscope. Neat and polished, yet still utterly unconstrained. Amazing journeys packed into each four-minute track. Tarp effortlessly glide through a full spectrum of atmospheres: call-and-response conversation, brooding ambience, rhythmic pulses, and melodic lullabies. Full color sleeve art by George W. Myers." - Apostasy. Co-released with Breaking World Records.

"Tart (Graham Lambkin, Karla Borecky, and Scott Foust) presents the world with their second LP, Bring In The Admiral. Since the release of their first LP, Radio Orange, Tart has been playing and honing their trade at various shows in the Northeast. Using the same minimal instrumentation as the live shows (two small casios, guitar, and a shortwave/cassette boombox plus a few studio effects and The Anti-Naturals trademark: tight, subtle, and yet powerful editing), Tart produces a dazzling array of scenarios, a testament to deranged beauty. Tart is a band that truely does not sound like anyone else.
Beautiful color cover. Who doesnt need a little Tart in their life?" - Swill Radio.

"The debut LP from the trio of: Karla Borecky, Graham Lambkin, and Scott Foust, recorded and assembled over 8 months between 1999 and 2000. Tart is an exquisite combination of three distinct minds, much like the skillful structure of diverse, yet subtle, ingredients in a piquant and nostalgic recipe: The Past as well as The Future. Tart blends together these strange elements in an organic yet totally disciplined style that renders many of their contemporaries as either flabby or boring. Radio Orange presents 7 original pieces of expertly edited new music-form. From the opening tape-collage miniatures, The Rabbits of Mangtarau (pts 1 & 2), through to the indeterminacy and excitement of the closing title-track, Radio Orange carves its identity through great use of diversified expression. The analog drone / vox duet: Astride Such Delicate Pins; the bizarre environmental action, Woman In Her Womb; the fragile tone composite, The Mums; and the grinding electronic surge of (the almost 20 minute) Chopin in a Shell all help complete the program in classic style. The overall sound is both hypnotic and explosive, with each side being carefully sequenced to maximize the fact.
Radio Orange comes complete with a beautiful full-color sleeve, designed by Karla, and contrasting monotone labels by Graham. The super-modernist avant garde continues to raise its aesthetic head under the romantic banner of the Anti-Naturals. Tart is fabulous." - Swill Radio.

“Pacific City Sound Visions presents a new project by Finnish artist Jan Anderzen ( KEMIALLISET YSTÄVÄT ) and Spencer Clark of The Skaters and Monopoly Child Star Searchers.
"Alien Wildlife Estate" is a kulmination of both artists recording Pacific City Studios and finnishing
off the compositions in a "YOUR MY FAVORITE ALIEN penpal flare! The music is engaged as a Fruitopian
vision of a rescattering of all elements within an International Airport to be presented as Audio exhibit! With songtitles
like"DEEP OCEAN IBEX ARENA" and LI SHEN SUS PEACOCK MANTIS SHRIMP REPERTOIRES" one can glare the "Up-To-The-Minute"
synthetic textures as they coalesce with the impressionistic voices and sound effects of the Symbiotic relationship of thee Modern Airport
with that of an Earth Alien ZOOLOGICAL GARDEN. Dont hesitate to venture the links below for two audio examples of these rather
wild textual explanations…” - Pacific City Sound Visions.

"Minimal electronics has a few different faces. There is a rather poppy version of the genre but also a more experimental version with early industrial influences. This record by TASS 2 is for sure one that belongs to the experimental style. The sounds on this album are raw, noisy and dark. Some comparisons to early Cabaret Voltaire, Throbbing Gristle and Gerechtigkeitsliga can be made, but TASS 2 is more typical minimal electronics then these artists. Titles like Stahlgeburt and Muzac speak for themselves. Best tracks are the dark pulsating Unterhaltung and Tunnelmensch. If you want to hear some authentic minimal electronics that are harsh and intense, this lp is a must have." Last copies of this 2005 release. Numbered edition of 500.

"A collaboration between Darren Tate and Paul Bradley. In his own unique and intimate way, Darren recorded the basic tracks at his home in York. Including guitar, keyboard and various other techniques, these recordings were passed onto Paul who took them with him, along with a laptop, on a recent visit to Turkey. These original tracks were supplemented with various field recordings taken around the town of Fethiye and the piece assembled during this three-week visit. Voyeuristic, evocative, abstract and delicate, you are invited to spend some time in their sonic world. Darren Tate made his name in the group Ora, a floating collective that included Colin Potter, Andrew Chalk and Jonathan Coleclough. Paul Bradley started out with his first commercial release on ICR and this friendship and partnership has continued over two collaborative CDs with Colin Potter." - Plinkity Plonk.

"Travellers Two is a full length recording from the duo of Tara Burke (Fursaxa) and Sharron Kraus. Together Kraus & Burke create an ethereal record of dark-folk magic. Tara Burke and Sharron Kraus were due to travel to Finland together for a week but missed the flight, so instead they decided to spend the week recording together and Travellers Two is the result. The time was spent out in the fields, visiting burial mounds, and then coming back to Sharrons home studio to work. They had played previously together and done some recording but this is the first time an album was conceived."- Important

"Released as a short-run private press LP in 1965, Fate Is Only Once has long been a coveted collectible among American Primitive guitar enthusiasts. The only other recorded work by Taussig surfaced on the out of-print Takoma LP Contemporary Guitar Spring 67alongside John Fahey, Robbie Basho, Max Ochs and Bukka White. Dorian Sonata was recently featured on the acclaimed acoustic guitar compilation Imaginational Anthem Vol. 1, and now the album is here. remastered, with original liner notes and vintage photos. The album features takes on traditional tunes (Dark Town Strutters Ball, Revs Rag and St. Louis Tickle), expressive originals in the American primitive vein (Blues For Zone VII, Dorian Sonata) and re-workings of songs popularized by Rev. Gary Davis and Elizabeth Cotten (Baby Let Me Lay It On You/Thatll Never Happen No More, Sugar Babe, Yoir Papa Cares For You.)The headiness of the album is remarkable for a 1965 guitar recording. While many guitarists were still stuck in the stuffy, conservative world of folk", Taussig was mining spacier territory like his colleague John Fahey. The musical ideas on the album sound remarkably fresh 41 years later." - Sunbeam.

894807002042
"Harry Taussigs Fate Is Only Once was originally self-released in 1965. Taussigs only other recordings appear on a deleted 1967 Takoma Records sampler LP entitled Contemporary Guitar Spring 67, which also featured John Fahey, Bukka White, Max Ochs and Robbie Basho." -Tompkins Square

600 copies w/extra heavy 28 pt."old style" tip-on covers in resealable bags."There is a dying plebeian ambivalence to the ghastly creaks and tragedies of New York City. Only here can one man come up against another, individually in a void, and speak collectively to the disintegration of his being. A city where the deluge of beauty is mystified by the constant groan of economy undermining a perpetually dissolving modernity. As it looms, it showers upon us the debris of its newest and most ragged disharmonies to stimulate our malignant activities and applaud the constant awakening of our intangible reality. These luminous sights, sounds, and sensations of this mythological frontier are but mere scuffles and flurries under the crumbling stone and iron exposed to the decay and the terror of the overwhelming shadows that engulf us." - Youth Attack.

"Capturing the groundbreaking Cecil Taylor Units second set at the Power Center, Michigan State University at Ann Arbor, on Thursday April 15th, 1976, this exciting set was recorded for broadcast on WCBN-FMs Jazz Alive program. Featuring Taylor on piano, backed by his long-term sideman Jimmy Lyons (alto sax), David S. Ware (tenor sax), Raphe Malik (trumpet) and Marc Edwards (drums), it offers a fascinating glimpse into Taylors uncompromising vision. The entire WBCN-FM broadcast is presented here, digitally remastered, with background notes and rare images." - Live On Vinyl.

"The Cafe Montmartre recordings of November 23, 1962 capture the birth of the mature Taylor style. The boppish lines of Jimmy Lyons retain ties to the past, while Sunny Murrays coruscating, arrhythmic washes point the way to the future (just as they would for Albert Ayler only a few years later). Originally issued by Freedom in 1975, Nefertiti has attained cult status as one of the crucial recordings of Taylors career." - Revenant.

Edition of 475 released in celebration of Cecil Taylors 80th birthday in 2008.
"81 minutes of duet recordings with Tony Oxley, selected by the musicians from ten hours recorded during their two weeks at New Yorks Village Vanguard in 2008.
This deluxe collectors item has been issued in a very limited, numbered edition--475 copies worldwide--on vinyl LP only. A 2-disc gatefold set, the record features the cream of the duos two runs at the Vanguard. An accompanying museum-grade folio includes exclusive original poetry by Cecil Taylor and paintings by Tony Oxley. In addition to celebrating Mr. Taylors 80th year, this release honors Mr. Oxleys 70th birthday just before the performances occurred." - Triple Point.

"Recorded live at the Curtis R. Priem Experimental Media and Performing Arts Center, October 5, 2008, this DVD presents two musical giants: Pauline Oliveros and Cecil Taylor, each performing a solo set, plus a first-time ever duo performance. Also included is Taylor performing his own poetry as well as the EMPAC Opening Festival." Total playing time: 165 minutes. NTSC format; aspect ratio: 16:9.

"Holiday Records presents the vinyl reissue of Ghedalia Tazartes 5 Rimbaud 1 Verlaine (2006). This is a great tribute to the poetry of Rimbaud and Verlaine made by a favorite French sorcerer, who exceptionally abandoned his typical imaginary language to reinterpret six small poems in his own way, jumping from one musical genre to the other and happily letting them crunch together in a childish, enthusiastic play. Recorded in Paris in his flat around the same time he recorded the wonderful Hystérie Off Music (2007) (HOL 074LP, 2014) and previously available in an almost unnoticed mini CD edition published by the French label Jardin au Fou. Available here in a remastered vinyl version - with an excellent 45 rpm cut made by SST in Frankfurt. Edition of 350." - Holidays.

"Born in Paris in 1947, Ghédalia Tazartés started singing when he was twelve years old, creating his own language. He began a professional career in dance, theatre, and cinema while still giving some occasional concerts and publishing a few albums, each one of them an acclaimed masterpiece. Recorded in 1989 and originally released by Aaya in 1990, Check Point Charlie is the first work by Tazartés conceived for the compact disc format and its different time boundaries. The result is a 60 minute long collection of layered field recordings combined into a polyphonic ceremony filled by his typical multi-tracked vocals, between a gibberish scream and the muezzins call to prayer. A unique record that -- after almost 25 years -- is finally enjoyable with the depth of sound that only a vinyl release can give." -Holidays.

"Originally recorded in 1977 with a limited pressing in 1979 on the underground French label Cobalt, Ghédalia Tazartès debut album, Diasporas, quietly fell into the catacombs of avant-garde obscurity. Tazartès himself, (a strange, nomadic character) played upon myths and legends about his existence and sounds – making him somewhat of a lost legend, trapped between a modern time and a surreal, simple age. Inclusion of Diasporas on Steve Stapletons famed “Nurse With Wound List” only added fuel to the fire of this legendary album. Traditional Parisian folk, frightening tape loops, and gypsy incantations …. Truly one of the most fascinating and mysterious albums ever created. Remastered from the original source tapes from Ghédalia Tazartès, an official reissue LP limited to 500 hand-numbered copies." - Dais.

"Remastered CD edition of Diasporas, Ghedalia Tazartes 1979 debut LP. Now available as an expanded individual CD, this edition was previously only available as part of a CD containing both Diasporas and Tazartes 1987 self-titled fourth album, which is also now available in an expanded CD edition (TES 089CD). In addition to the entire original release of Diasporas, this CD includes the first CD release of "Ferme ta gueule, Zarathustra," a composition largely based on materials pre-dating Diasporas, originally issued as side A of Granny Awards (ALGA 036LP). In "Ferme ta gueule, Zarathustra," Tazartes freely connects Raphaël Glucksmanns garbled voix denfant with intoxicating, slow-moving, and sustained synth chords, before jump-cutting into bird calls, dissonant arabesque strings, and eccentric vocalizations with a blinding sense of freedom. Ghedalia Tazartes is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. Tazartes is an orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition. To hell with the technocrats of noise and the purists of synthetic culture; this music refuses classification and escapes control." - Alga Marghen.

"2009 repress. More than 5 years after the CD edition of Eclipse totale de soleil and Transportes, Alga Marghen finally decided to also reissue the first and the forth LP by Ghedalia Tazartes including both on one CD. Ghedalia Tazartes is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. Dont become a black, an Arab, a Tibetan monk, a Jew, a woman or an animal but to feel all this stirring deep inside of you. The greatest trips are made in the deep end of the throat: the extra-European music open the ear to Ghedalias intra-European exotism. Where was music before music halls? Where was the voice before it learned how to speak? Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. To hell with the technocrates of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death. Off limits!" -Alga Marghen

"alga marghen was the first label to issue on CD the 4 record LPs that Ghedalia Tazartes privately produced between the late 1970s and early 1980s, therefore contributing to the diffusion of this music among the new generations. At the same time Ghedalia Tazartes music defined the high standard level of the alga marghen label in its early days. These great recordings are still available in their original CD editions and no surprise that alga marghen has now the privilege to bring you the pleasure of listening to a previously unpublished LP recently discovered in the artists archives. Side 1 features Ferme ta gueule, Zarathustra (i.e. Shut Up, Zarathustra) a long track constructed by several fragments recorded in the early 1980s that would have later composed, with different editings, some of the best parts of Une eclipse totale de soleil. On side 2 we find five shorter tracks titled Whatever, Works, Singing, Wild, My Rock Ghedalia. Recorded in the artists own studio in his anhydridic Paris, these pieces are based on materials pre-dating Ghedalia Tazartes first LP Diasporas and were re-elaborated in the early 1980s to be included in this lost work of art. Ghedalia Tazartes is a nomad. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. He is also one of the most original artists in the sonic art scene. Edition limited to 450 copies." -Alga Marghen

“At the beginning, Hystérie Off Music was conceived as a catalog record, an open field where the author could play with all musical genres and their stereotypes. But it rapidly evolved into an uncompromising clash of field recordings, sampled instruments, and Ghédalia Tazartès incomparable vocal eclecticism, made of emotional psalms and shamanic hymns. The encyclopedia of genres turns into a childish -- and sometimes scary -- play, and the song titles mislead the listener, introducing a completely new classification. Recorded in the early 2000s and released on CD in 2007 by the French label Jardin Au Fou, its now available in a remastered vinyl version -- with an excellent cut made by SST in Frankfurt -- for the best listening experience of this cinematic electronic collage. A true movie for the ear.” - Holidays.

"Another shamanic journey in Tazartèss universe. He sings and plays all the instruments and samples, recorded in the very same room as all his other solo records since 1974. Performed, produced, and recorded by Ghédalia Tazartès for Bisou in 2012. Tazartèss son, Lalo, can be heard on "Dont Cry for Me, Mamma." The front cover is a picture of Quentin Rollet, shot by Yannick Ressigeac. The back features a drawing by Lalo Tazartès. Mastered by F/Lor." - Bisou.

"Les Danseurs de la Pluie", which gives title to the complete anthology, is a 12-minute mini-CD, presented on creative disc, including four previously unavailable tracks. Two 1977 killer recordings from the Eclipse Totale sessions of a very wild and residential nature; and two colossal new pieces recorded in 2005." - Alga Marghen. Repressed!

"This lavish set includes the complete Ghedalia Tazartes recordings previously issued on CD by Alga Marghen. This edition is presented in a newly designed slipcase box including 4 CDs in elegant slim digipak sleeves. Diasporas is the CD edition of Tazartes 1979 first album, also including "Ferme ta gueule, Zarathustra" (previously issued as side A of Granny Awards (ALGA 036LP)). Tazartes Transports is the CD edition of Tazartes 1980 second album complete with four "Assassins" bonus tracks (previously issued as the mini-CD Les danseurs de la pluie (TES 063CD)). Une eclipse totale de soleil is the CD edition of Tazartes 1984 third album. Originally conceived in two parts, this CD edition is completed by the long bonus track "Il regalo della befana," or "Une eclipse totale de soleil (Part III)" and "Elie," a charming piano piece performed as a duet with Tazartes young daughter. Tazartes is the CD edition of Tazartes 1987 fourth album, also including "Whatever Works Singing Wild My Rock Ghedalia" (previously issued as side B of Granny Awards (ALGA 036LP)). Ghedalia Tazartes is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. Tazartes is an orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition. To hell with the technocrats of noise and the purists of synthetic culture; this music refuses classification and escapes control." - Alga Marghen.

"An extraordinary combination of culled found and taped fragments juxtaposed against drums, field recordings and mystery noises, sound loops, birdsong, keyboards and emanations of Ghédalia Tazartès own throaty drones and voice propelled by hypnotic, ritualistic rhythms balanced on a razor-sharp edge. This is the complete work of Repas Froid; previously released on CD in 2009 as brief tracks of source material and a palette of various sounds. It includes archival and as of yet previously-unreleased recordings from the late 1970s and early 1980s, strung together to form two long compositions. A French musician of Turkish parentage, Ghédalia Tazartès is an uncompromising character who defies categorization. Born in 1947 in Paris, he is one of Frances most idiosyncratic talents. He has spent over 30 years within musical practice and experimentation, letting his musical work wander from chant to rhythm, from one voice to another. Manipulating magnetic tape recorders into a rough collage and loose ethno-instrumental mulch, he paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. The LP is mastered and cut by Rashad Becker at Dubplates & Mastering, in a limited edition repress of 350 copies, pressed on 140 gram vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk-screened PVC sleeve with artwork by Kathryn Politis and Bill Kouligas." -Pan

"Remastered CD edition of Tazartes, Ghedalia Tazartes 1987 fourth LP. Now available as an expanded individual CD, this edition was previously only available as part of a CD containing both Tazartes and Diasporas, Tazartes 1979 debut album, which is also now available in an expanded CD edition (TES 088CD). Immersive, transporting, and deeply arresting music from the revered autodidact and audio oddity. If youve never encountered Tazartes before, this is an excellent place to start, welcoming you to a unique world of exotic, electro, and acoustic sounds, composed according to a genuinely far-reaching and individual agenda. In addition to the entire original release of Tazartes, this CD also includes the first CD release of "Whatever Works Singing Wild My Rock Ghedalia," recorded in Paris in the early 80s and originally issued as side B of Granny Awards (ALGA 036LP). Spread over five tracks, the piece features a comedic, exuberant vocal set to crackly 78 backing on "Whatever," turns blind corners into ethno-noise trance-outs on "Singing," delivers hyper-rhythmic experiments on "Wild," and closes with a jarring hardcore punk-out in "My Rock Ghedalia." The freedom of expression and taste for exotic, arabesque tonalities is a mighty revelation." - Alga Marghen.

"Remastered CD edition of Tazartes Transports, autodidact and outsider composer Ghedalia Tazartes 1980 second LP. This album probably represents the most original example of the artists poetical and personal approach to sound organization. The tracks for Tazartes Transports, recorded in 1977 at Tazartes own studio in Paris, are blends of stream-of-consciousness rippling electro rhythms, outer-national singing styles, collaged field recordings, tape loops, and chants. The musique concrete soundscapes and exotic atmospheres take on a perpetual sense of drift and magical imagination. The listener is spellbound from the start to finish, through the deeply evocative peal of church bells and swirling synthetic textures in track 2, via humid sci-fi scenes and alien avian chatter on track 5, and the lost zones of the closing stages. This edition also includes four "Assassins" tracks, originally released on the 2006 mini-CD Les danseurs de la pluie (TES 063CD). The first two of these bonus tracks were recorded in 1977, around the time of the recording of Une eclipse totale de soleil (TES 005CD), and consist of banking guitar feedback, unhinged hollers, and an unsettling piece of childrens screams looped against droning synth tones and electronic pulses. The second two "Assassins" tracks were recorded in 2005; "Assassin 3" is a mystical piece of ecstatic ululations and plangent electric guitar riffs, while "Assassin 4" feels more opulent, with plush synth pads set against strange, strafing distortion, rhythmic exhortations, and surreal, cinematic percussion. This edition concludes with a final bonus track, "Elie," a charming piano piece performed as a duet with Tazartes young daughter. Once again, Tazartes provides some of the most compelling, weirdly life-affirming music out there." - Alga Marghen.

"Remastered CD edition of Une eclipse totale de soleil, Ghedalia Tazartes third LP, originally released in 1984. Far away from contemporary music intellectualisms and the works of synthetic noise purists, this album features a new form of musical expression and is certainly one of the most original and creative records of the 80s. The value of this work was at the time underestimated and only a few people had a chance to listen to this beautiful music. The record utilizes collage, Tazartes unique vocals, trance-ethno backing splices, droning organ, and childish naivete, in a spirit all its own. Originally conceived in two parts,Une eclipse totale de soleil is here supplemented with a 25-minute piece titled "Il regalo della befana" or "Une eclipse totale de soleil (Part III)," composed expressly for the original 1996 release of this CD edition. The original two parts are constructed from sung passages of Middle Eastern musics, drum machine noises, distorted signals, and the voices of small children. The newer third part takes some of the same sorts of cues but is more in keeping with turntablism or sampling culture, dipping into recordings recycled from pop culture. Tazartes music compiles fragments from a wide variety of sources in a stunning, idiomatic fashion, still undiminished by the passage of time." - Alga Marghen.

"Reissue of the CD originally released by Demosaurus in 1997, paired down to a lean LP length with the approval of the artist. This edition is an instance of the recorded material translating beautifully to the vinyl format." -Hot Releases.

"4LP-Box with 10" Tazartes Transports, Tazartes, Diaspora, Une Eclipse Totale De Soleil, and Quelque Part Quelquun. The French artist and autodidact Ghedalia Tazartes who is born in Paris in 1947 is a true nomad spending more than 30 years within musical practice and experimentation. Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others, freely connecting the sounds, the rhythms, his voice, his voices. The extra-European music opens the ear to Ghedalias intra-European exotism. The permanent metamorphosis is a principle of composition; it escapes control, refuses classification, diametrical to the purists of synthetic culture and technocrates of noise. He wanders through music from chant to rhythm, from one voice to another. Utilizing magnetic tape recorders, he paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. This box concentrates on his early works from 1977-1979 and his four officially released vinyl-LPs plus a 10" of an unreleased work from 1978. All the material is superbly remastered for vinyl by Anders Peterson of www.ghostsounds.net pushing the overall quality and dimension in sound to an amazing new level and experience." - Vinyl-On-Demand.

"A live recording, made during the Ultra Eczemas Strafstudie night at Vooruit in Ghent / Belgium,
one of the most beautiful ballrooms in Flanders.
Swimming in a turbulent blender, in "4 parts" spread over 2 sides obviously.
It is sometimes hard to hear whos doing what here,
vocals and strings, tapes, bells and percussion become one odd ball of dust, blown into
the narrow streets of improv, non of the "free music solo rules" are accepted here.
Somebody else, living in that same street mentioned "it sounds like a whole village of monks turning against
buddhism, trading smiles for grunts".
Ghédalia Tazartès, master of dramatic vocals that travel from tibet to John Lydon, Chris Corsano, still the last drummer on earth,
and Dennis Tyfus trying hard to listen, for once, have played together three times and as it will remain hard to ever really sit
down and record together this record is exactly what it should be.
Limited to 300 copies, comes in a off set printed sleeve with collage art by DT, and 2 inserts with liner notes by Byron Coley!" - Ultra Eczema.

"TBC is the short form for THOMAS BECK, a sound-activist from Hamburg, Germany, who has been involved in the experimental sound-explorer scene since many years there (also active with a Radio-programme and a magazine for experimental music). Among his releases we find some cassettes and two split LPs (with REZNICEK and recently with BRUME). On the three tracks on this EP he uses human voice and environmental recordings to create droning sound-patterns of a higher beauty, structures appear and dissolve again, tension is build and re-build (similar to TOY BIZARRE or ERIC LA CASA).... without knowing where exactly the sounds are derived from, everything stays mysterious and alien, a very own soundworld to experience. PINK VINYL WITH "OLD STYLED" PHOTOCOPIED B/W COVER. 33 rpm, in a limited first edition of 250 copies." - Drone.

"Sergei Tcherepnins Quasar ⇔ Lanterns was originally produced in 2009 as an eight-channel installation with Ei Arakawa at Künstlerhaus Stuttgart, and was remixed to stereo by Tcherepnin for this release. Tcherepnin is a Brooklyn-based artist and musician. His work constructs temporary architectural interventions that push phenomena of the sonorous toward the haptic through performance, composition, and installation, exploring the materiality of sound and its physical and psychological effects on the listener. He has performed and presented installations at the 2014 Whitney Biennial, the 30th Sao Paulo Biennial, Guggenheim Museum, Audio Visual Arts, Murray Guy, and ISSUE Project Room. The three pieces that make up Quasar ⇔ Lanterns combine analog synthesizer recordings and other instrumental sources with field recordings captured during the artists travels to Turkey and Georgia. Each piece introduces a separate facet of Tcherepnins compositional practice, respectively probing the boundaries between perception/hallucination, active/passive listening, and form/fiction. In the first piece, titled "Death (Quasar)," recordings of an acoustic bass played by Adam Linson function as "sound meteors," creating fissures and tears as they rip through a stable yet shifting aural field. "Sky" follows with a series of clear and high ear tones, unfolding as a succession of subtle sonic events. The final piece, "Horse," explores the rhythmic and textural qualities of recorded horse hooves moving across stone, assembling the sounds into a sonic fiction in which horses and their riders leave the earth via flying carpets (objects referenced in the original installation). Mastered by Rashad Becker." - Issue Project Room.

"2006 release. Fast, caustic, abrasive, dangerous and disturbing: TDK were real radicals -- provocative beyond mere slogan-making. "TDK" stands for "Terrorism, Destruction and Chaos (Kaos)." They were born in Madrid in 1984 with Jose (guitar), Maguu (drums), Alfonso Cronopio (voice) and Manolo UVI (bass guitar) as their first line-up. Soon Manolo would leave and be replaced by Paco Lanaquera (from Panaderia Bolleria Nuestra Senora del Carmen). The band would record no less than five LPs and three singles, and Carnevision was released in 1986. The sound of their beginnings could be described as fast-as-fuck hardcore punk, à la Dead Kennedys. As a matter of fact, TDK received a note from Jello Biafra himself in which the Kennedys singer congratulated them, saying how surprised he was to listen to such a wild band coming from Spain. And so TDKs reputation and fame reached even the U.S.A.: on New York Citys leading punk radio station, they were labeled one of the 10 best hardcore bands in the world. After Alfonso left, precisely to go to the U.S., the rest continued as a trio, releasing their last three albums (A toda prisa, Como una Pesadilla and La Nueva Era de los Masters) with a radical change in style: they even released the first hip-hop album made in Spain." -Munster.

"Over the last two years Tearist has become one of the most notorious and vital bands in the new underground pulsing through Los Angeles. Building on songs driven by intense vocals and synths, the duos performances are known for being deeply physical and direct events. Yasmine Kittles sings from the depths of her body/soul and moves in a near-transfixed state, using scrap metals to scrape rhythm from the ground beneath her. All the while, as if telepathically linked, William Strangeland uses sputtering, cracked synthesizers to create shimmering melodic lines along rumbling interlocked beats and rhythms. Their songs flow and surge, building thick layers of analog sound and noise, often leaving wrecked PAs in their wake.
On the heels of the bands recent 12 EP issued by No Ages PPM label, Thin Wrist Recordings is proud to release Tearists first full-length album, Tearist Living: 2009-Present.
The album is a rough, raw document taken from audience recordings made in warehouses, lofts, concert halls and everywhere in between. Across two sides of vinyl, multiple versions and performance tapes are spliced, mashed, layered, collapsed and collaged to create an organically flowing album. Full songs cut with snippets and interludes capture the band in its early formation. This is a sideways introduction to Tearists devastating performances and a nod to semi-legendary live cassettes and bootlegs. Think of it as a sort of Sonic Death, 2 x 4, or Metallic K.O. for today, or maybe 23 Minutes Over Brussels via Los Angeles. This is immediate and unpolished sound as a means to an intimate and transcendent experience.
Limited edition high quality vinyl in full color & hand-letterpressed heavy tip-on jacket." - Thinwrist.

"The project name for a one-off collaboration between Cans bass player Holger Czukay and the painter Rolf Dammers. Canaxis 5 (1969) was an early attempt at manipulating ethnic music (World music), in many ways predating the discreet background music of certain ambient Brian Eno albums. The album was made using tape loops from traditional Vietnamese music to create some kind of acoustic sound painting. The result was a strange sound milage. It contained only two tracks: "Boat-Woman-Song" and "Canaxis". Few ordinary instruments were in use, only Holgers bass can be heard occasionally. Nowadays, this album is nothing more than a curiosity, documenting the ambient music in its early childhood. Czukays tape editing skills steadily improved through the years - as proved by the mid-period Can albums and even more so on his solo albums." - Mutantsounds. "One of the earliest and rarest Krautrock albums ever, this was
recorded in 1968 by Holger Czukay of CAN fame, and released
the next year on the tiny Music Factory label in a pressing of
only 500 copies. With just one long track on each side, this
faithful reissue features all the original artwork." - Scheisshouse.

"Formed in 2004, Tecumseh creates drone metal of the heaviest variety although with more forward movement than some of their peers and with the addition of cold electronic hiss. Using two basses, electronics, percussion and guitar, Tecumseh wrap themselves and their listeners in a warm sonic meditative slow motion blanket woven from their skilled use of sound and space. Avalanche And Inundation was recorded in the winter of 2008 with Jeremy Romagna (Yellow Swans, Trees, Silentist). This is the perfect metallic drifting off music, almost like theyve discovered some new genre, sludge-ambient, doom-age, whatever you decide to call it, its pretty amazing, and fans of all things slow motion, downtuned and yes, heavy will dig this big time, --Aquarius.

"Formed in 2004, Tecumseh creates drone metal of the heaviest variety although with more forward movement than some of their peers and with the addition of cold electronic hiss. Using two basses, electronics, percussion and guitar, Tecumseh wrap themselves and their listeners in a warm sonic meditative slow motion blanket woven from their skilled use of sound and space. Avalanche And Inundation was recorded in the winter of 2008 with Jeremy Romagna (Yellow Swans, Trees, Silentist). This is the perfect metallic drifting off music, almost like theyve discovered some new genre, sludge-ambient, doom-age, whatever you decide to call it, its pretty amazing, and fans of all things slow motion, downtuned and yes, heavy will dig this big time." -Aquarius
"The LP version of Tecumsehs Avalanche And Inundation is pressed in an edition of 500 copies. Heavy drone/heavy meditation. Be inside the sounds." -Important

"Punk Rock from Grenoble , an album recorded live on the direct console in 2 days Gibus in 1983. This album 10 tracks not really referenced as very rare is reissued with a new cover and inner sleeve with photos, documents and texts destroy, and re-mastered ." - Cameleon. TED DESTROYER by TED DESTROYER / CAME18

"Second 7", from sometime Electric Bunny, Eric Lopez. Less than 6 months out of the gate he already has 3 cassette tapes, a cdr, and two more 7"s (on Sweet Rot, andozac) on the way. One man drone punk over
drum machine and sustained notes on a keyboard." -Floridas Dying

"if you dont know the Teepee sound already, its a mix of synthpop/punk/hypnotic drones/Moody acoustic guitar/ & outsider sounds. Sounds that are sure to get inside your inner self and make you want to spin it over & over. This is quality material. 500 copies on Ebony Black vinyl w/ inserts and download card. Teepee is also a member of Miami groups Electric Bunnies & Melted Sunglasses" - Senzei

""In 1980 Esle, Jette, and myself started playing together and soon after Sods/Sort Sol was kind enough to lend us their equipment and rehearsal room. Knud Odde (the bass player in Sods) sang with us a couple of times and he put his words to the music, and the song "Tell Me" was born. In the autumn of 1980, Xenia joined the band as singer and we had to find a name for the band. We came up with Tee Vee Pop.On January 3rd we played our first gig in Rockmaskinen, Christiania. Our set consisted of three songs that we played twice. In the spring of 82 we recorded the songs on this album, thanks to Irmgardz, an independent record company, out of which four were put on an EP and the rest were published on tapes. Irmgardz also arranged for us to support The Fall when they visited Copenhagen in 83, Nico in Montmartre in 82 with Martin Hall playing drums, and a small tour of Denmark with Nico and The Blue Orchids. Towards the end we changed the bands name to The Vanishing Point and played a few gigs under that name. During all this time Peter Peter was our steady sound engineer. The few times he couldnt be there to push the buttons at a concert, we felt quite lost." Includes a 12" insert. Tee Vee Pop were: Xenia Foss (vox), Anne-Maria Sigbrand (guitar), Elsebeth Seeger (bass), Henriette Sommer (drums). Includes a download coupon." -Desire.

"Its winter in the Midwest... you took a little too much Robitussin and youre stuck in the basement of a funeral home wondering if that coffins taken. At least, thems the circumstances surrounding the recording of this epic vinyl debut from these twisted backwood cyberpunks. Damaged, dystopian industrial and alien funk reminiscint of Coil or Skinny Puppy." -Savage Quality.

"A dogroll is a cheap giant sausage of bad meat to feed your pets. Teen-X-Ray came from Hamilton, New Zealand, which is known for agricultural innovation, frosts, fog and Taniwha in the Waikato river. Live cows with windows permanently inserted into their bodies for research live on the edge of town. As Stefan "Smetal" Neville recalls: "Glen Frenzy asked me to join his new rock n roll band Teen-X-Ray at a ska concert at the Hillcrest Tavern in Hamilton in 1993. He had probably already recorded most of the first cassette The Ballad Of Vince Neil using the karaoke sound on sound function of his flat-mates stereo. Then and now I would do anything Glen asked of me so Ive been in X-Ray ever since." Glen also recruited Dusk, his girlfriends German Shepard who howled when she heard sirens. She would bite and claw at Casio keyboards. She didnt share her dogroll. Teen-X-Ray recorded their music on cassette decks, performed on top of kitchen tables and released many tapes on the Plop, M60 and Stabbies And The Rocket labels. Glen and Dusk got a reel-to-reel tape machine, moved to Upper Hutt, making noise long into the night. Dusk got into Neil Young and killing mice while Glen got into home brewing beer and computers. Stefan Neville moved to Dunedin but Upper Hutt became his favorite holiday destination and each visit would result in new albums. Upper Hutt is known for its pig hunting and for producing New Zealands first hip hop group. Spirits Dogroll was compiled from recordings from 1994-1996. Teen-X-Ray is still active today. LP comes in full color sleeve, in an edition of 300." - Planam.

Excellent self-released 10 track CDR from this Minneapolis experimental/"minimal synth" band. Only a 7" was released during their year long existence (a track from which is now included in the Hyped2Death series) but this also includes unreleased recordings. Features Milo Fine. Different cover artwork than the copies we had 5-ish years back.

"Teenage Boatpeople NOW (Agua Prieta 000209) contains 5 new songs recorded in 2009, 4 songs that comprised the out of print vinyl EP, 4 BY THE TEENAGE BOATPEOPLE, originally released in 1979, and 4 demos recorded in 1980.
Teenage Boatpeople are a Minneapolis based Avant-Garde Rock band founded in 1979 by Jeff Johnson. The band played a short run of gigs 1980-81 at local venues including First Avenues Main Room and 7th St. Entry, the New Riverside Cafe, and the legendary Longhorn (Zoogies), sharing the bill with the likes of DNA, Husker Du, Naked Raygun, the Milo Fine Free Jazz Ensemble, and the Suburbs.
The music the band created in 1979/80 was unique and difficult to categorize for the Minneapolis scene at the time. With the lack of local support the group disbanded in late 1981.
The bands current line up retains two core members -- Jeff Johnson and Milo Fine -- and adds new member Tim Mauseth (Rocking Pinecones, Safety Last). Milo Fine is an internationally known improvising musician who has been active in the field since 1969. He has been featured on 3 dozen published documents including recordings with Free Jazz/Improvised Music legends Anthony Braxton, Derek Bailey, the Reform Art Unit, Hugh Davies, among others." -Agua Prieta.
Teenage Boatpeople Now by Teenage Boatpeople

"Munster Records presents, in a co-release with Discos Alehop!, the three official singles of the British band Teenage Film Stars reissued on vinyl for the first time: (Theres A) Cloud Over Liverpool (Clockwork Records), The Odd Man Out (Wessex Records/Blueprint Records) and I Helped Patrick McGoohan Escape (Fab Listening Records).

After self-releasing two records with his band O Level, in 1979 Ed Ball continued the path of 60s-influenced new wave pop already present in that bands The Malcolm EP (1978), now under the name Teenage Filmstars. In this new adventure he was accompanied by his school friends Dan Treacy and Joe Foster (both members of Television Personalities). With their help Ball released a first single in September 1 979 featuring two songs: the A side is taken by (Theres A) Cloud Over Liverpool (a tremendous chorus-song ) and the B side contained Sometimes Good Guys Dont Follow Trends (a comment on youth culture). The song (Theres A) Cloud Over Liverpool received support by John Peel and reached certain fame in the UK and the United States, where it was interpreted as an homage to John Lennon.

June 1980 saw the release of their second single, titled The Odd Man Out, where Teenage Filmstars offer as the lead track a catchy ska-pop number in the vein of Madness. The other side featured I Apologise, a beautiful pop melody punctuated by the kind of guitars characteristic of the revival mod bands of the time.

Their last single, from November 1980, included the track from their repertoire with the biggest potential, I Helped Patrick McGoohan Escape (re-recorded in 1982 for Balls next project, The Times, again along with Dan Treacy), an homage to the actor Patrick Joseph McGoohan, who worked in the late 1960s cult TV series The Prisoner. The singles other side features Were Not Sorry, a power pop nugget which links them with bands such as The Jam and Merton Parkas (who were mocked on one of the two sleeves of (Theres A) Cloud Over Liverpool).

This compilation also includes two tracks never released on vinyl until now which were recorded in April 1979, in the style of O Level: Hes A Professional (antimilitary punk-pop) and the folk-punk anthem The John Peel March, dedicated to the legendary BBC radio host and great supporter of new bands. This retrospective is completed with a recording session dated in November 1980 which produced three tracks (Storybook Beginnings, Dressing Up For The Cameras and The Sun Never Sets) which further explore the power pop-mod sound that Ed Ball would develop in his next band The Times.

Ed Balls music career would continue into the 1980s and 90s in bands such as Television Personalities (until 1985), The Times (until 1999) and many more projects, including four albums as a solo artist." - Munster.

"Repressed, originally released for Record Store Day 2014. Munster Records presents, in a co-release with Discos Alehop!, the three official singles of the British band Teenage Film Stars reissued on vinyl for the first time: "(Theres A) Cloud Over Liverpool" (Clockwork Records), "The Odd Man Out" (Wessex Records/Blueprint Records) and "I Helped Patrick McGoohan Escape" (Fab Listening Records). After self-releasing two records with his band O Level, in 1979 Ed Ball continued the path of 60s-influenced new wave pop already present in that bands The Malcolm EP (1978), now under the name Teenage Filmstars. In this new adventure he was accompanied by his school friends Dan Treacy and Joe Foster (both members of Television Personalities). With their help, Ball released a first single in September 1979 featuring two songs: the A-side was taken by "(Theres A) Cloud Over Liverpool" (a tremendous chorus-song) and the B-side contained "Sometimes Good Guys Dont Follow Trends" (a comment on youth culture). The song "(Theres A) Cloud Over Liverpool" received support by John Peel and reached certain fame in the UK and the United States, where it was interpreted as an homage to John Lennon. June 1980 saw the release of their second single, titled "The Odd Man Out," where Teenage Filmstars offered as the lead track a catchy ska-pop number in the vein of Madness. The other side featured "I Apologise," a beautiful pop melody punctuated by the kind of guitars characteristic of the revival mod bands of the time. Their last single, from November 1980, included the track from their repertoire with the biggest potential, "I Helped Patrick McGoohan Escape" (re-recorded in 1982 for Balls next project, The Times, again along with Dan Treacy), an homage to the actor Patrick Joseph McGoohan, who worked on the late 1960s cult TV series "The Prisoner." The singles other side featured "Were Not Sorry," a power pop nugget which links them with bands such as The Jam and Merton Parkas (who were mocked on one of the two sleeves of "(Theres A) Cloud Over Liverpool"). This compilation also includes two tracks never released on vinyl until now which were recorded in April 1979, in the style of O Level: "Hes a Professional" (anti-military punk-pop) and the folk-punk anthem "The John Peel March," dedicated to the legendary BBC radio host and great supporter of new bands. This retrospective is completed with a recording session dated to November 1980 which produced three tracks ("Storybook Beginnings," "Dressing Up for the Cameras" and "The Sun Never Sets") which further explore the power pop-mod sound that Ed Ball would develop in his next band The Times. Ed Balls music career would continue into the 1980s and 1990s in bands such as Television Personalities (until 1985), The Times (until 1999) and many more projects, including four albums as a solo artist." - Munster.

"Recorded in one day in 1978, unpublished until now. Style Pub/Punk/ Rocknroll. 300 copies with insert."

"January 1977, Alain Lalanne, who previously played with Guy in a group of blues rock "ASSHOLE BLUES BAND" presents Alain Puyau, who has just learned to play drums. The TEENAGE HEAD group is created. The name comes from the FLAMIN GROOVIES LP released in 1971... Ricky remembers "First rehearsal with Guy and a drummer, I was plugged into his amp to sing, he played so hard that the ears whistled for days." Come many concerts as at the fair of Expo of Pau with LITTLE BOB STORY and DR. FEELGOOD. ... But the group separates by divergences, problems ofdrugs for some and degradation of the relations..." - Cameleon.
TEENAGE HEAD by TEENAGE HEAD / CAME44

"Teenage Jesus and the Jerks began to formulate their visionary brand of aural catharsis sometime during the first half of 1977, amidst the sordid ruins of a then fully down-and-out Lower Manhattan. The mastermind behind this juggernaut of sonic libertinage was a barely pubescent but world-weary runaway who called herself Lydia Lunch. Influenced strongly by the Marquis de Sade andHenry Miller, Lunch shrewdly decided to graft the existential horror of her own writing onto harsh, atonal music after being exposed to the room-clearing live output of other contemporary rock-music deconstructionists like Suicide and Mars. With an agenda of conjuring nightmarish intensity in lieu of technical instrumental ability, Teenage Jesus instantly made the supposedly nihilistic and raw current wave of so-called Punk acts sound like slick, good-timey pop music by comparison. Teenage Jesus and the Jerks were The Texas Chainsaw Massacre, Ilsa, She Wolf of the SS, and Salò, or the 120 Days of Sodom, transliterated into a blatant mockery of the increasingly tired, basic rock-band format. Posthumously, there have been numerous reissues of the primary Teenage Jesus corpus, namely the first side of the Lydia Lunch double compilation albumHysterie (CD Presents, 1986), a very incomplete anthology titled Everything (Atavistic, 1995) and Shut Up and Bleed (Cherry Red/Atavistic, 2008), which also featured Beirut Slump tracks. These less-than-fastidious documents contained reverb-laden transcriptions of the studio cuts directly from vinyl copies, as well as random live tracks of mediocre fidelity. This particular collection about to be released on Other People is meticulously edited and mastered from rare bootlegs taped during the initial 1977-1979 period of the classic band, and only one title (Crown of Thorns from January 17, 1979) has been legitimately released to date, albeit in a completely different sound quality. Almost every known Teenage Jesus and the Jerks composition appears on this compendium and Ms. Lunch herself is quite satisfied that this just might be the final nail in the coffin... If it is the sound of deliberately organized and deployed agony you are seeking, your bath has been drawn and the razor awaits." --Weasel Walter, Brooklyn, NY, June 30, 2015

"The seminal no-wave band Teenage and Jesus and The Jerks were lead by primal screamer and guitarist Lydia Lunch, an individual who has fought her artistic way through the decades, always true to her own vision and always brutally honest. In early 1978, artist and producer Brian Eno attended a series of shows put on to benefit the Artists Space in Soho and influenced Island Records to finance an anthology LP featuring the four strongest bands -- Teenage Jesus and the Jerks, The Contortions, Mars and DNA. The resulting recording, entitled No New York and produced by Eno, remains as one of the most impressive and extraordinarily bold debuts of the time. Here we compiled all Teenage Jesus and The Jerks recordings, alongside some NEVER previously released live material. Simultaneous to Teenage Jesus, Lunch formed Beirut Slump, released one single and recorded an albums worth of material, which is also included on this remarkable release." - Cherry Red

"Formed by underground music gurus Lydia Lunch and James Chance in 1976, Teenage Jesus flourished in an underground scene that eschewed the commercialization, triteness and idiocy of punk, dominated (particularly in the USA) by bands that, despite being decidedly marginalized, in some ways just wanted to have fun and get wasted on a Saturday night. Teenage Jesus and the Jerks were not about having fun. It was about nihilism and confrontation, about ripping mainstream society to shreds and dancing on its grave. The music, if you will, was more of a means to an end, almost a metaphor for how at odds the members felt with mainstream society, and it was this forceful message preached by this new prophet (the Teenage Jesus) that has spoken to the past three decades of disillusioned youth. These twenty-one tracks taken from their brief time together (1977-1979) represent the bulk of their recorded material, including the bands earliest material (recorded in Soho in NYC 1977, when James Chance was still in the band), their first single (Orphans/Less Of Me, 1978), their second single (Baby Doll/Freud In Flop/Race Mixing), songs from the Pink EP, produced by Robert Quine of the Voidoids, songs that appeared on the legendary 1978 No New York compilation, etc." - Cherry Red.

"Der TPK liken the sound of their second aural onslaught to "[The battle of] Kursk, second day." Who among us cannot relate to the largest tank battle in history? While the comparison may not be an easy nut to crack, the reference, specifically to the second day, is telling: the wonton destruction that unfolded on that field of battle in an attempt to break the Soviet bulge cannot be overstated. For the Germans, it was unmitigated tragedy. So by comparing Games for Slaves to this particular point in the offensive, Der TPK makes clear that album number two is more brooding and melancholy than Harmful Emotions.
Bunker Wolfs menacing lupine-schrei is as formidable as ever, but the band has moved from the blitzkreig, almost hardcore-like pace of their Siltbreeze debut to a more Mancunian post-punk sound (angular guitars, rhythmic dirges), crossed with the luftschutszbunker psychedelia of German Oak (especially on the organ-laden tracks). Edmund Xaviers spidery guitar fills recall similar stylings of a young Bernard Sumner, while the bass/drum propulsion of Boy True and Catholic Pat call to mind the underrated talents of Slight Seconds Mike Shaw and Peter Hibbert. Getting back to Bunker Wolf, there is no one like him. Maybe if Peter Hind (Mittagspause-era) could still squeak while goose-stepping across the squat in a pair of leather trousers, then we might have some trouble. But that aint likely. No one does it in 2008 like Teenage Panzerkorps. Games for Slaves is more beauteous gas on an already raging and spectacular fire. Edition of 500 with insert and single-sided, silk-screened, black-and-white cover." -Siltbreeze

"New ripping single from TEENAGE PANZERKORPS (DER TPK). This record is a full 8 minute, 45-RPM punk single that sounds like it is from neither now or then. Just a very small amount of copies of this Canadian import. This record is not recommended for fans of Beach House." - No Vacation.

"Follow-up to last years well-received full-length of collaged live performances released on SHDWPLY. This is another half hour-plus of the Baltimore drum/drone collective at their most zoned and loose-limbed." -Not Not Fun.

"Jonny Telafone, originally from Cranberra and now based in Melbourne, is an auteur working in a genre that could be best described as post-apocalyptic R&B. Romeo Must Cry is his first official album, after a series of digital and cassette releases stretching back to the late 2000s. This period culminated in Chapter Musics 2012 self-titled compilation (CH 098CD), which took the form of a four-song 7" accompanied by a 20-track CD career overview. Romeo Must Cry is a new chapter for Jonny Telafone, and his most clearly articulated vision yet. The album presents a darkly sexual near future, both disturbing and alluring. The world could end at any minute, oblivion lurks around every corner, but there are still human connections to be made amidst a gleaming metropolis. Steamy, seductive first single "The Prayer" (featured on Pitchfork, Indie Shuffle, and Flavorwire) is contrasted against the bleak fatalism of "Inferno," the cyberpunk urgency of "Carry Me Far Away," and the disarming sweetness of "Strange World." Its an intensely personal vision, with only a handful of outside contributions. "Waking Up Crying" features a verse from rising LA rapper Bones, who included an earlier version of the track on his 2013 mixtape Paid Programming. The Ocean Partys Liam Halliwell plays guitar on the epic "Inferno," and Sam McCusker of noiseniks Orbits shreds on "Neuromancer." "The Prayer" was produced with Forces maverick Alex Akers, and title-track "Romeo Must Cry" (bookending the album with two distinct versions) was produced with Lachlan Thomas of Danger Beach and TV Colours. From start to finish, the album is a journey from innocence, love, and hope, through to steely-eyed despair. In Jonnys words, "Romeo Must Cry is a tragic pseudo-religious sci-fi epic that details the rise and fall of a lovesick hero slowly descending into madness and eventually death. Trapped in a futuristic nightmare, he loses his great love along with his mind, his life and his very soul... forever." LP includes download code." - Chapter Music.

"Black Sweat Records present an expanded reissue of Telaio Magneticos Live 75, including unreleased tracks from the super groups only tour in 1975. Telaio Magnetico was composed of Franco Battiato, Lino Capra Vaccina, Juri Camisasca, Mino Di Martino, Roberto Mazza, and Terra Di Benedetto. In the mid 70s, the Italian underground scene seemed to mature an existential priority of yearning toward a new psychological universe, with a firm idea to colonize an uncharted space of a necessary and infinite path of spiritual redemption. In this context, the short experience of Telaio Magnetico was born from the confluence of the Battiatos experimental efforts, in works such as Sulle Corde Di Aries (1973), Clic (1974), and M.elle "Le Gladiator" (1975), and the Albergo Intergalattico Spaziales new esoteric electronics. A mosaic of metamorphic sounds and frequencies of unfamiliar constellations, the music of Telaio is an imaginary trimurti of "energy-cosmos-mind". Synths and Lowrey organs draw sidereal labyrinths and landscapes, scanned to infinity by a harmonic percussions arsenal. Whispering and radical improved vocals are lost as delusional fugues in centrifugal vortices and, at the same time, seem to offer a compendium of religious chants which evoke Tibetan choruses, Indian pujas or the Gregorian tradition. Reemerging sometimes as Sufi cadences and relaxations, or pastoral-tribal elements on which the chamber carpet of oboe blows like Arabs, Egyptians, or Moroccans pifferos. That traced is not only a galactic river, but also a Mediterranean circumnavigation: a unique creative moment that, in addition to the references with the German kosmische music and British space-rock, seems to be perfumed by the influence of Gurdjieffian mystic and even had roots in the minimalist drones of Terry Riley and La Monte Young, also drawing parallels to the contemporary research of authors such as Alvin Curran and the following explorations of Futuro Antico." - Black Sweat.

"Telecult Powers, the candle burning duo of Witchbeam & Mr. Matthews, known for their ritualistic live shows and previous releases on Baked Tapes, Draft, Pizza Night and more, bestow upon us their album Black Meditations, a six part sonic meditation on the connections between man, myth & magic. Black Meditations taps into the world of folk magic, reaching out to the spirit world through sonic practice, with the duo praying at an altar of bizarre electronic instruments handcrafted by Mr. Matthews. Through this Hoodootronix music Telecult Powers taps into the current in which the spirits of Atlantis, Rexino Mondo, In Search Of..., Dionysus cults, old witchy Hollywood, Mort Garson, Louise Huebner, Nik Raicevic, Bruce Haack, Bebe and Louis Barron, and Discordians draw from. Featuring guest appearances by Lala Ryan from Excepter, Rachel & Grant Evans, Kate McGuire, The Road Chief and liner notes by Carl Abrahamsson." - Experimedia.

"Telepathe is three of the four members of Wikkid, from Brooklyn, NY. We started this project in the fall of 2004. Our EP called Farewell Forest is coming out on the Social Registry label" - Telepathe.

"The Telescopes have been pushing audio frontiers since 1988 releasing now regarded classics on Creation, Cheree and What Goes On. In 2002 after an eight year void they returned with the Third Wave LP on NYC label Double Agent. Their new sound is characterised by improvised free drone noise pieces, which have been released by Hungry Audio, Fourier Transform, Double Agent and reissues on Revola, Spaceage, Midsummer Madness and The Committee To Keep Music Evil prompting the NME to declare the genius of The Telescopes. They open proceedings for Trensmat with an E.P of free drone audio druidry. Side 1 contains the seven and a half minute AMM meets Suicide groove of DSM-1v axis 1: 307.46 - the DSM term for night terrors. Side 2 builds a brilliant and atmospheric subterranean world of drone and white noise using household objects - true metal machine music." - Trensmat.

"Originally released on Overground records in 1995, this is one of Burgers favorite TELEVISION PERSONALITIES albums and the label is extremely proud to release it on cassette for the audiophiles. Limited one-time pressing of 250 numbered copies." -Mctelevi

"TV as eyes. TV eye on you. Television, the drug of the nation. The ultimate seduction, the realm etc. Control, by them... This Television Set, however, is just a television set. No abyss you gaze into, with the known consequences. Its a mere nocturnal distraction. Pastime, but no paradise. Refusal, and no participation. A light in your room. It is a translation of observational notes into sound. You have not lost control again. Roger Semsroth is an artist of many guises, and this is one of his finest. Music written for the loneliest boys in town, who get the girl in the end. Or vice versa. And there are no references either -- none! Trip the switch." --Finn Johannsen, Berlin, November 10, 2014.

"Gorgeous first LP by German visual/sound artist, Fee Kürten, whose previous work has been available only via the German Bloody Hands label. Singing in English, accompanying herself on electronics, harmonica and strings, Fee creates oddball vistas of minimal pop aktion reminiscent of early Young Marble Giants, mixed with overtones lifted straight from the women of the Neue Deutsch Welle, and the slangy delivery of Omnivore. The results are a beautiful, throbbing Euro-American art-pop hybrid that functions in truly Internationalist terms. Some of it is akin to the nudest American avant-garage inventions around, other parts bleed like the waffle-filled air of the deepest Belgian underground. Just when you think you have Tellavisions modus operandi decoded, something different happens and you have to start re-evaluating your conclusions. Surreal, abstract, imagist, literal and utterly lovely, this is music for sitting around an internal campfire, crackling like crazy. Edition of 300." -Feeding Tube.

"This might be the final chapter of our releases from Zambia (unless we find an unknown album which is as good as this one). Chrissy Zebby Tembo is the drummer of the Ngozi family. This time the album is under his name and Paul Ngozi is his guitarist. This album is so great, we left the best for the last Zam Rock release. Wild fuzz guitars all over (how do they get those sounds?), African beats and extra cool vocals. Complete stoned music. People say it is easily one of the best African psychedelic rock album ever recorded -- raw, rough, with a gaping charm and tons of front and center fuzz guitar over basic, ultra catchy rock/pop tunes reminiscent in style to maybe the Velvet Underground. The songs are sung in English. Original albums on Chris Edition are rare as gold dust. 500 numbered copies; heavy sleeve; on 180 gram vinyl." -Shadoks.

"Killer Afro-psychedelic rock made in Zambia, early 1970s! Chrissy Zebby Tembo and his group Ngozi Family deliver a brutal set of fuzzed to the max psychedelic rock, with a slight African feel and English vocals. Much improved sound quality and pressing than the previous, long gone reissue of this amazing album." -Hummingbird

"Temperatures are a London-based duo formed by Peter Blundell (bass, voice) and James Dunn (drums, synth). Blundells rumbling delayed bass runs against Dunns bursting drums that simultaneously trigger an unruly ARP 2600. Vocals are both muffled and shouting at times and eventually end up getting buried under a (controlled) landslide of sounds. Thanks to their instinctive but thoughtful approach to noise, Temperatures can express a suffocating sense of alienation and mal de vivre, as well as todays over-communication resulting in a helpless lack of communication; but "Eksra" strikes most for its original and refreshing sound, far from the stale cliche that noise so often falls into. They can be compared to other bands like: early Throbbing Gristle, Lighting Bolt and the Dead C." - Ultramarine.

"A cracking little 15 minute seven inch from new British noise act Temperatures. Likened to the likes of Lightning Bolt, Sightings or the Dead C. but with an early Cabaret Voltaire / Neubaten industrial twist. This is experimental rock music of the highest calibre from a duo that is sure to move onto bigger and better things." - Rough Trade.

"Ed Wilcox is constantly refining his art, his message. As a painter, he describes what you will find in his work with, my love of circus, the unrepentant whim of the Cobra Group, the recycled resurrections of Eduardo Paolozzi, and most important to me, Persian and Mongul miniatures. Ed Wilcox approaches his musical efforts with the same level of thoughtfulness and joy in exploration. A self-declared Space Metal band, there is much influence of Sun Ra (Philadelphia for crissakes!) as there is Judas Priest. Together with a crop of accomplished and loyal fellow travelers, the Temple Of Bon Matin has ventured in and out of sight, but has continually remained true to Eds single vision of pushing clattering jazz through the heaviness of hard rock. The result is always explosive and primal, always Bon Matin. Infidel , Temples sixth full length, is the record made when the pedal hits the metal. A full on blow out featuring Eds powerful shouts and revving drum attack, amidst psychedelic-punk guitar blasts and blaring horns." - Spirit Of Orr.

"How can it be that every time we turn around, ED WILCOX, and his TEMPLE OF BON MATIN have squeezed out a new record, and each record takes us (by that I mean the world) closer to the nexus. Okay, this record is simply the most psychedelically mannered BON MATIN yet, and it is also the most soulful, and the most vocal, and most pre-cussive, and most acoustic. MONKEYS STRAW RAINCOAT takes the direction of the CABIN IN THE SKY release and turns it back into itself, it propels like BULLET INTO MESMERS BRAIN, but it is a space capsule without any fuselage. What the hell am I talking about? Limited to 300 hand assembled copies." - Spirit of Orr.

“This band has existed in the 70s in the southern region of France, a unique single was released on the Kiosque DOrphée Label in 1979, concerts with Magma, Ange, Wapassou…. Here is the LP with songs and improvisations (Sun Ra & Coltrane style, Soft Machine, Santana & more…) recorded in 1976 to 1979, edition of 500 copies. This sale also includes the original single available with the first 150 copies. Warning: the 45s were found in an attic, they are mostly in good condition or new but some are VG +, no complaint will be made possible.” - Cameleon

"If Jean Logarin did not exist, it would be necessary to invent him. Never mind your outsider composers; never mind your library music. Never mind your merely unreleased records. Jean Logarins music, like some recent unearthings by Belgiums Ultra Eczema label, exists at a remove from publicity so complete that it was nearly not among us, and has never been before. Like any obscurity, its immediate appeal might be that this music could count as a more genuine artifact of its time than any more commercial product, by virtue in part of its being outside of history. Jean Logarins music is definitely outside of history, but it is no artifact. It is so deeply consonant with the best contemporary electronic music that it is hard to believe it isnt brand new. But the biographical details, however elusive of our usual channels of verification, speak for themselves: Logarin studied under Andrew Rudin during the early 70s; his interest in electronic music further developed while working as a studio assistant for engineer Max Tanguy, an associate of famed Krautrock producer, Conny Plank. Through Tanguy, Logarin met percussionist Hans Schule, an eccentric whose shady wealth bankrolled a series of recording sessions at Tanguys studio. Together with Logarins then-girlfriend, Llissa Zuckovich, Tanguy, Schule and Logarin proceeded to compose in the studio several hours worth of finished pieces whose original purpose and intention have only become cloudier with time. There was no serious attempt made to release it, and only vague talk of attempting to sell it for commercial usage. The music on Makes You Feel is, then, from a historical perspective, purely a vanity project. A vanity project within a vanity project, even: None of the pieces were given titles by Logarin, and the name "Temporal Marauder" does not pre-date this release. The album was compiled, its presentation determined, by its own first fan. And here is where the story strains credulity, because it requires believing that Jean Logarin one day met, by chance, accordionist and composer Guerino Raglani, who even then was uncle to a young Joseph Raglani, today trafficking in romantic, Kraut-tinged electronics under his own name. Two years ago, the elder Raglani passed onto his nephew a set of DAT transfers of his old tape reels, among which were (what have proven to be the only known) copies of Logarins studio recordings. The younger Raglani, so the story goes, flipped out -- became nearly scared, in his own words -- and demanded to know more. His uncle shed what light he could on how he came into possession of the tapes (a funny story in itself), but it took an extensive search to find any accessible trail to Logarin. While Jean and the rest of the erstwhile group were pleasant enough when located, and happy to lend their support to the belated discovery of their work, each was mostly surprised anyone would want to go to the trouble; particularly Logarin, who declined the invitation to be involved in the project beyond its approval, and encouraged Joseph to come up with the albums names and titles himself. So, the project became Raglanis, and it bears the impression of his own aesthetic stamp, drawing from a range of references he and Logarin discovered they had in common. One may search for further information about Jean Logarin beyond these and a few other bare facts, but only in vain; he does not wish to be known. But to anyone who supposes that music this enjoyable and exciting, however buried, wouldve already been found by now if it actually existed, I would suggest that it has arrived at just the right time to be heard. And to those who will inevitably question if Logarin himself is real, the only straight answer is that we have his music. How could he not be real?" - Michael Ferrer. Images from Jean Logarins diary. Layout by Jeremy Kannapell.

"Top notch and bang up identical reissue job by the high quality label Sky Station; gatefold mini-LP style sleeve complete with inserts and obi. This was originally a private pressing on Terayama Shujis own Tenjosajiki label. The disc is a soundtrack to his like-named movie, of which the title can be roughly translated as Volume of First Love Hell. Psychedelic insanity, spoken word insertions and has included great vocal participations by sublime vocalist Carmen Maki of Blues Creation. Great disc that rarely surfaces with everything intact. Meaning obi, gimmick jacket that folds open in triple parts once you open the album. Comes with pictures of Terayama, Carmen Maki and nude photographs of the main actors."-Showboat/Sky Station

"Tennis is Patrick Riley and Alaina Moore, a husband/wife duo. The idea for the project began one day a couple of years ago when Alaina made fun of Patrick for playing Tennis in college, which is an elitist rich man’s sport. A year later the two fled their hometown Denver to spend eight months sailing and exploring the North Atlantic coast. During their adventures they began writing music together documenting their experiences." -Underwater Peoples.

"Tokyos Tenniscoats centre around the duo of Saya and Taskashi Ueno, a married couple who have been making music since 2000, and together run the highly regarded Japanese label Majikick Records. In that time, Tenniscoats have released three studio recordings, 2001s Theme Of Tenniscoats, 2002s The Ending Theme and 2004s We Are Everyone.
Although each of those records is a fine, fine work, many Tenniscoats fans say that the bands meditative intensity has never quite been captured in the studio. It is for this reason that Chapter Music is releasing a compilation of their live work. Live Wanderus (named in Sayas imaginative English to reflect the words Wander, Wonder, Wondrous and Us) presents songs from each Tenniscoats release in distinctive new forms, as well as a number of previously unreleased tracks. It presents the band in its many shifting lineups, and includes collaborations with members of revered Japanese bands Acid Mothers Temple, Stars and Maher Shalal Hash Baz.
Tenniscoats are a combination of hummable melody and a kind of innocent darkness, their unashamed fragility set against a restrained power that at times can explode into a psychedelic free-for-all." - Chapter Music.

“The first part of a four-part vinyl edition of Tenniscoats masterpiece Music Exists, a work of intimate, wonderful, psychedelic folk music. Includes double-sided fold-out insert. Tenniscoats have devoted followers all over the world, but their releases have always been hard to find outside of Japan. Except for their album Tokinouta (2011), which saw a very limited run on vinyl, and the seminal Two Sunsets, their 2009 collaboration with The Pastels (and a small handful of 7"s), there were never any vinyl releases, and the CDs were hard to get for anyone who doesnt speak or read Japanese. So this release is a chance to dive deep into the beautiful, unique world of the Tenniscoats and their magnum opus Music Exists. Tenniscoats are a duo that has enjoyed a long career in the music scene of their home country of Japan since their formation in 1996. They have collaborated with unique artists from different backgrounds (Tape, The Pastels, Pastacas, Jad Fair) while maintaining their own laid-back approach and sound. Their songs are built primarily from guitar and vocals with lyrical themes focusing on everyday life. It could be their expansion on simplicity that has captivated music lovers of all ages throughout their existence. Music Exists previously saw a limited release on the Tenniscoats own Majikick label in 2015. "We started recording around January of 2013 with just the two of us in our 10 tatami-room in Tokyo we were using as a private studio. Arrangements were produced without computers by overdubbing on an analog console with mixing assistance provided by Saya. As we sent selected songs to be mastered by Yasushi Utsunomia, we were able to see the tracks grown into a full length album." Tenniscoats wrote and recorded the album themselves using an analog console, a microphone, and what few instruments they had. As the project developed, they were surprised to find that they had amassed several albums worth of material, showcasing their unique combination of melodies and unexaggerated arrangements. Co-released by the Germany-based Alien Transistor label and the Tokyo-based Afterhours magazine and label.” - Alien Transistor.

"The debut LP from Tense out on Frances excellent Desire Records. The intense new duo featuring Mariana from Medio Mutante put on a seethingly infectious live show at the Wierd weekly party earlier this year, blowing us all away with their erotically violent blend of modern industrial dance music inspired by the classic early EBM and Wax Trax label bands(Front 242, Ministry Thrill Kill Kult) as well as the pioneering first wave of European minimal electronic groups. Beautiful 1st edition pressing of 300 copies on gray wax." - Wierd.

"The Tenses is a duo comprised of Ju Suk Reet Meate and Jackie Oblivia, two veterans of the weirdo art collective that is known as the Los Angeles Free Music Society. They also form the core of legendary experimental juggernaut Smegma. The LAFMS have been a singular force in DIY culture ever since the early 70s and encapsulated an endless string of projects and bands that married a sort of proto-punk with trashy guitars, avant-garde music, tape manipulations, free jazz, improv, and absurd vocalizations into a hyper-original and singular form of music. Theyre seen by many as the originators of noise music, and have been an immense influence on bands like Sun City Girls, Merzbow, Wolf Eyes, No Neck Blues Band, etc. The Tenses is one of the latest vessels for Ju Suk and Jackie to explore the outer realms of sound and space. Compared to the mothership that is Smegma, it is a more compact and intimate project where turntables, tape collages, distorted surf guitar and coronet are used to create elaborate, haunted atmospheres. After releases on Harbinger Sound and their own Pigface Records, The Tenses now add another chapter to their history with Howard, their LP on Belgian imprint audioMER. Howard is a mind-expanding tour de force that scrambles spoken-word deconstructions and spontaneous freak-outs into a musical non-sequitur; a strange and disorienting trip. Loops of voices from long-lost instruction movies, shortwave radio dramas that get overrun with sirens, various non-instrumental sounds, and a bewildering stretch of Link Wray-like guitar riffs; Howard is a record that oozes paranoia, the perfect soundtrack for making explosives in your basement. Comes in a limited edition of 300 copies with artwork by Wouter Vandevoorde and design by Wouter Vanhaelemeesch and Jeroen Wille." -Audiomer.

Recorded live on the phone in 2015, Portland. "Imagine you are home, in the Music jamming room, its after midnight and the landline phone rings. Its not anyone that you know but you pick up the handset and improvise a musical greeting (one to two minutes) then hang up. This continues for the next 3 hours, well this sort of thing happened to us (The Tenses) in Nov. 2015 in Portland. The calls were from a mid-century built-in Phone booth at L.A.s Dorothy Chandler Pavillon, during Dublabs all night event “Sleepless”. This tape includes 15 or so of our mini Jams from that night. The Tenses are Oblivia and Ju Suk Reet Meate.Ju Suk Reet Meate." - Pigface.

"Recorded at Smegmas Studio Portland, Oregon December 2011 by Ju Suk ReMixed may 2012. Except side B The Tenses Live in studio at East Village Radio June 2011 by Jeff Conklin.
The Tenses: Ju Suk Reet Meate and Rock and roll Jackie of Smegma.
Giggles: Madelyn Villano and Alieta Herrera-Train.
Side one features an informal , Real Time Jam between Smegma Alumni and the then, newcomers on the Portland Scene. Somewhat edited by Ju Suk reet Meate. Side Two was recorded "live" near the corner of 1st and 1st NYC in a tiny, crowded
studio that adds an extra layer of intensity to the performance." - Pigface.

"TENT CITY is from Phoenix, Arizona, and play in a style similar to Wooden Wand and the Vanishing Voice, Dead Machines, Raccoo-oo-oon. Past releases on Not Not Fun and Night People all sold out pretty quick. The record is a clear one-sided 12-inch with a 20-minute live set on it. The blank B-side is multi-screened with multi colors."-Gilgongo Records.

"EPILEPTIC STROBING DIAMONDS INSIDE THE FOREHEAD. 1983
UFOLOGY CONVENTION .RECORDED IN TIJUANA MEXICO AND THE
DESERT OUTSKIRTS OF EL CAJON CALIFRONIA. MUSIC FOR
THE DESERT TEMPLES OF EXTRATERRESTIAL LIGHT. LIVE SMOKESHOWS FROM INSIDE THE CIGURI CAVE
PERFORMED BY JAMES FERRARO." - New Age. James from the Skaters solo project. Reissued.

"Terje Bandholdt on drums, Jesper Schmidt on guitar and Joachim. This album was recorded in 1970 for the famous Spectator Records in Denmark (Moses/BluesAddicts/Days). Reissued for the first time in original cover plus insert with many photos and band story, this amazing heavy psych album beats most releases from Denmark, in quality and rarity. Massive guitar action all over, great heavy vocals and pumping rhythms lift this album right out of there. Beside Moses, the best heavy psych album from northern Europe. 450 numbered/glossy/heavy sleeve/180 gram pressing/insert." -Shadoks. Previously reissued by Little Wing back in 1991 or so.

"A bass tone like a warped broadcast barely winning its fight with am radio fuzz. A hypnotizing keyboard that sounds like someone crafted an infernal machine from the toy section of a resale shop. Hailing from Detroit, damaged new-wave duo TERMINAL GIRLS debut Weird Lights LP on FDH records avoids the lo-fi trappings of layers and layers of tape hiss and clipping vocals buried in the mix to deliver something thats clean enough to bore itself right into your brain and dare you to drill a hole in your skull so it can escape. Become a cosmonaut from an alternate past that sets out on a voyage to deep space to find gods skeletal remains. That vast, empty boring part of outer space is no longer boring, and is more vast, more empty. You are so lonely and depressed that you want to commit suicide but Weird Lights force you to have a one man dance party instead. The beats drill into your body, reaching speeds that should be too fast to dance to but arent. None of this makes you feel any better about freezing to death in your spacesuit, but youve lived for so long you cant care anymore. Like a less self conscious The Screamers, unconcerned with trying to sound punk and artsy, but they manage to do it effortlessly. Sometimes it becomes so catchy but alienated it could have come from some sewer dwelling mole-man mid 90s boy-band. Limited to 300 copies, includes a download." -FDH.

"Last I heard from these gouchos they was lightin up the sonic skies w/a brand of fuzz they called Barn Rock. But a move northwest & so many Trappist ales later, maybe its safe to say the barn has given way to a shed. But density is relative & on here the trio dont lunge into the whoosh of Hawkwind & Mountain as before, yet they aint missed a beat neither. These tracks seem more set the controls for the heart of the rural-delica sun, following the not so easily understood maps of neo-cartographers such as Thinking Fellers & Strapping Fieldhands. The moral of this offering might be revenge is dish best served cold & if you miss Blackjack mailorder as much as I do, they you know what I mean." - Roland Woodbe, Siltblog. Silkscreeened sleeves. Features Scott Derr of Monoshock, Sternklang, Black Jack Records, etc..

"Perennially unrecognized and underrated; The Terminals finally established their stature in 2007 with their release Last Days of the Sun (awarded one of the top 50 albums of the year in Wire magazine.) Mixing elements of classic VU, Doors, late 70s/early 80s post punk (Wire, Joy Division, etc.) with a unique strand of New Zealand rock that has been developing in isolation since the early 80s (Vacuum, Pin Group, The Clean, etc.). Its hard to understand why it took so long for the band to garner a little attention from the critics. The early 90s saw two full-length releases from the band (Touch and Little Things). Both are seriously meaty albums with guitar distortion and drums often taking the forefront (perhaps channeling a bit of Fun House), but pinned down by Stephen Cogles Ferry-esque vocals and that NZ rock sensibility. Little Things (1995) in particular stretches out the frenzy established with Touch; Jon Dale (NZs closest thing to a rock-musicologist) claims this to be their most sophisticated stage; drawing comparisons to Charlambides and Fushitsusha, yet never fully breaking away from rock. Indeed, its worth noting that Little Things was released side-by-side with the free noise entries like Gate, Handful of Dust, etc.; but unlike those bands, there was still a core part of the Terminals that was all about songs and lyrics -- even if that format was as dense and electrified as Musica Electronic. This much-needed reissue features both some serious remastering by the band and two live bonus tracks (one a cover of Roxy Musics Both Ends Burning)." - Last Visible Dog.

"Last Days of the Sun is the fifth album by long-running New Zealand avant-garage kings The Terminals. Bruce Russell has often described them as New Zealands best rock band bar none, and these days they often get called legendary and while that may have as much to do with the fact they are in their twenty-first year they continue have a big reputation for the intensity of their live performances. Last Days of the Sun is their first release since the 1997 Terminals Live CD on Medication and the 1996 7" single Medusa on Chicago label Roofbolt. It combines driving garage-rock and swirling guitar/organ interplay with dark, brooding, melodramas and quietly haunting ballads. There are twelve songs of love and anxiety, with The Terminals characteristic ebb and flow dynamics and Cogles unearthly tenor soaring right over the top." - Last Visible Dog.

"Says Your Flesh, "a double-barreled shot of infectious, angst-ridden noise pop." The quintets blend of Southern Pacific Gothic and garage aggravation has never gotten its due, but longevity and patience may yet afford them the last laugh. After a moderately busy time in the early 90s, this 1996 single was their final studio release until 2008s Last Days Of The Sun. Features members of Flies Inside the Sun, the Renderers, Rain, Eye, and Sleep. " - Roof Bolt.

“Remastered reissue of this debut, originally released on Flying Nun and recorded in 1988. "We are proud to present our first New Zealand band and luckily one of the finest to ever grace the Flying Nun label. The Terminals were a mid-late 80s-era super-group featuring many important shards of the Kiwi underground, including core members Peter Stapleton, Mary Heney, and Ross Humphries from the very first Flying Nun release, the monumental Pin Group, joined with Susan Heney from The McGoohans, as well as Stephen Cogle from Vacuum and Victor Dimisich Band. Hard to keep all those intersections straight, thats for sure, but this intense, brooding and ominous cadre of players have pulled together some of the darkest sounds to ever emanate from the isle. Its hard to pick favorites with The Terminals, but Uncoffined, their debut LP recorded in 1988, seemed like the best place to start. Its hard to believe something this dark and twisted could also be so catchy, sounding like not much else from the time, The Terminals never caught the indie rock afterglow that label mates The Clean, The Bats, or The Verlaines got, yet their catalog of dubious releases is still being discovered, even now as we speak. Remastered from the original tapes to revive what was lost in the haze of limp late 1980s studio mastering techniques, this improved version sparkles with hostility, the sheen of atmospheric shadows interlaced between tension-building crescendos, The Terminalss Uncoffined is a lost masterpiece of Antipodean, dark-wave, pop music, destined to reinstate its place in the annals of underground music history." --VictimofTime.com.

"Terrestrial Tones is the home recorded project of roommates Dave Portner
(Avey Tare of Animal Collective) and Eric Copeland of Black Dice, published
by an emerging label in the underground noise scene, Psych-o-Path records. Blasted, their debut record combines a creepy parade of burlesque musicalia with the
underwater travels of a submarine 20,000 leagues under the sea. Deep almost
unrecognizable vocals hidden in layers of sub-bass warbles are reminiscent
of work on the Charhizma Label, particularly Christof Kurzmann and his
collaborations with Dafeldecker and dieb13.
Likewise there are nods to the diverse almost pop-twitch of Dat Politics and
the polyrhythmic patterns of the Basic Channel/Chain Reaction projects. It�??s
a dance music record (microtonal future extremely abstract dance) for people
who like to wiggle to shoes tumbling in washing machines with monkey cymbals
and puppet shows.
It is serious yet unpretentious, even whimsical, and will appeal to fans of
experimental electronics, IDM, Throbbing Gristle and related, the drones and squeals of Black Dice and the
nouveau pop psychedelia of Animal Collective." - Psych-o-Path. 2004 release.

"Terrestrial Tones is the home recorded project of roommates Dave Portner (Avey Tare of Animal Collective) and Eric Copeland of Black Dice, published by an emerging label in the underground noise scene, Psych-o-Path records." - Psych-o-Path.

"Brooklyns Terrestrial Tones is the roommate duo of Eric Copeland (Black Dice) and Dave Portner (The Animal Collective). Over the years the two have been quietly making music in between Animal Collective and Black Dice commitments. Recorded in their apartment while living in Paris last summer, Terrestrial Tones third record Dead Drunk sounds like the duo spent a bit too much time in the Parisian flea markets. African food stands, forgotten European pop records, discarded American analog pedals and junk, old Soviet electronics, they all come together into something highly disconcerting, curiously pleasurable, and beyond new."- Paw Tracks.

"Brooklyns Terrestrial Tones is the roommate duo of Eric Copeland (Black Dice) and Dave Portner (The Animal Collective). Over the years the two have been quietly making music in between Animal Collective and Black Dice commitments. Recorded in their apartment while living in Paris last summer, Terrestrial Tones third record Dead Drunk sounds like the duo spent a bit too much time in the Parisian flea markets. African food stands, forgotten European pop records, discarded American analog pedals and junk, old Soviet electronics, they all come together into something highly disconcerting, curiously pleasurable, and beyond new."- Paw Tracks.

"Terrestrial Tones are Eric Copeland and Dave Portner, two dedicated musicians who make their own sounds while on hiatus from their respective bands: Black Dice and Animal Collective. The Tones music was made to be played live through a huge stack of speakers yet listening to Oboroed in your own space is oddly relaxing as sound waves morph and sonic tapestries shift. This is noise but very deep noise minimally composed and direct sounding. Oboroed is slightly longer and more subdued, coming in almost like GAS and then shifting through different songs to a kaleidoscopic and epic effect. Circus Lives is more aggressive, particularly with the bass frequencies, with the cascading rhythms of the mid-range, and with the bold choice of samples. Oboroed / Circus Lives was recorded by the Tones at Terrestrial Home in November 2004 then mixed and mastered with Rusty Santos in January 2005. Although the lineage from Animal Collective and Black Dice can be faintly detected in the music, Oboroed / Circus Lives maps a different territory barely touched upon with their other bands. They present electronic music with a surprising new take." - UUnited Acoustic Recordings.

"The Terrible Truths are a stunning young post-punk band from Australia, beholden to the aesthetics that drove that musics late 70s inception with a spirited, fresh-sounding energy shared with so many of the great bands that are making their countrys current dominance over rock music. The intertwined vocals of guitarist Rani Rose and bassist Stacey Wilson evoke the feelings of freedom and discovery bestowed upon those who have learned to control their musical powers, the wild magic therein enchanting all lovers of UK DIY, goth, and the 90s riot grrrl explosion. Limited, hand-numbered edition of 300 copies." -Mexican Summer.

"Blistering blitzkrieg from Detroits proud punk pongers. With equal amounts of inspiration gleaned from the Screamers and Adderall, the TWOS like to keep it weird. These songs show the band at their peak and are easily among the best things theyve ever committed to wax. Guaranteed enough energy to turn you on and float your boat. As a side note, they are also the best band to ever send Cass an unsolicited demo. On randomly mixed colored vinyl!" -Cass.

"Its been 5 years since Detroits TERRIBLE TWOS let loose their first album of unhinged, synth-fucked punk furiosity, in the time between then and now they saw the release of a handful of singles, the untimely demise of several vans, a personnel change, and a sharpened delivery of their brand of ape-shit destructo-rock. Along with being a genre of outsider-art, Horror Vacui is defined as "a fear of the empty"-it makes sense that this would be relatable for Terrible Twos as they rarely allow you a moment of silence to collect your thoughts before scattering them back across your dome during the course of these 13 songs." - Urinal Cake.

"This is the long awaited debut LP from Vancouvers TERROR BIRD, comprised of wife and husband duo NIKKi NEVER and JEREMIAH HAYWOOD. Night-People teamed up with German label Adagio 830 to present this master piece of heartfelt, haunted, ethereal pop music. Nikkis piano and synth arrangements guide her voice full of feeling and beauty through layers of dark ambience that constantly break away into shinny spaces of hopeful abandon. Artwork by SHAWN REED." -Night People

"Debut vinyl release for this fresh and exciting Wellington NZ trio! Follows up cassettes on Night People. Strung along the same mystic thread as all your favorite Flying Nun and NZ bands of yore, yet claims their own voice and avoiding becoming a tribute act." - Selection.
Death Of The Gideon by Terror Of The Deep
"There are flashes of all the right indie/pop touchstones, some “Dunedin Sound”/Flying Nun, The Go-Betweens, Velvet Underground, all those obvious references/influences but it’s been shaped now to fully suit the sound of Terror of the Deep; they have arrived at their own feel. Their own place. Songs like Times of Uncertainty in fact showcase everything I’ve just named, all in the one tune, but you only realise that after. You’re sure you’re listening to a band called Terror of the Deep, not just a band that wants to hint at Go-Betweens, VU and some Nun." - Simon Sweetman, Off The Tracks.

"Recorded by Dan Beban (Orchestra of Spheres) at the iconic Wellington venue/studio Freds, and was the last album the be recorded there before the building was red stickered and put up for demolition.
After spending most of 2014 in Tom Watsons (HLAH, Cassette, and now keyboards in Terror of the Deep) studio mixing the album, Space Epic was released digitally in May 2015, on cassette by Christchurchs Melted Ice Cream later that year, and now on vinyl by New York based label Selection Records." - Selection.
Space Epic by Terror Of The Deep

"Perhaps the true test of an artist is taking common elements and fashioning a unique sound all their own. Elijah Forrest, as Terrors, is one artist who passes the test. A bi-coastal vagabond dropping tapes from southern California to Baltimore, Forrest has traveled many miles, seen a lot and judging from his music, not all of these experiences have been good. Terrors is relatively unprolific by underground tape culture standards, putting out a handful of well-received cassettes over the last few years. Each release is filled with simple songs built around his voice, guitar and at times, a healthy wallop of tape hiss ambiance and feedback. With these simple ingredients, Forrest injects a sense of weariness and sadness into his songs -- even the instrumentals which loop, layer and wrap back around themselves seem imbued with a touch of grey. The chords, melodies and progressions may sound familiar but in Forrests hands, a freshness and timelessness breathes within these songs. Weird Forest is excited to present Lagan Qord, a compilation of Terrors tracks culled from the last few years. Wonderfully remastered by Sean McCann, these songs have never sounded better." -Weird Forest

“Terrys second seven inch features three new songs that explore themes of patriarchy in politics, mass consumption versus lifestyle choices and the dating scene. "8 Girls" is a pop nugget that references female politicians including German Chancellor Angela Merkel, the Australian Minister for Foreign Affairs Julie Bishop, controversial leader of the One Nation party Pauline Hanson and senators Penny Wong and Jacqui Lambie. Divide Terry into four and you get Al Montfort, Amy Hill, Xanthe Waite, and Zephyr Pavey. Originally released by Aarght! Records. Transparent vinyl housed in a reverse board sleeve; Edition of 400.” - Upset The Rhythm.

180 gram vinyl. "Terry is also a band from Melbourne, Australia: Amy Hill (Constant Mongrel, School Of Radiant Living), Xanthe Waite (Mick Harvey Band, Primo), Zephyr Pavey (Eastlink, Total Control, Russell St Bombings), and Al Montfort (UV Race, Dick Diver, Total Control). Guitars, bass, drums, all four sing. Terry is a particularly active, having released two EPs and a full-length album Terry HQ (UTR 084CD/LP) in 2016 on Upset The Rhythm. After returning from summer 2016s European tour, Terry set about writing a new album of songs. These are now grouped together as Remember Terry, an album full of wish fulfilment, critiqued characters, memorial muscle, and historical hustle. "Start The Tape" is a not quite two-minute careen through what Terry are best known for; gang vocals, chased-down melodies and acerbic commentary. Terry draw on their everyday realities to make personal conclusions; "I cant live here, I cant leave here" they collectively sing through the strummed guitars and skittling synths of "Heavin Heavies". Somehow the serious nature of the themes handled in their songs are only further emphasized by the tuneful, arguably "sing-along" treatment Terry usually employ. "Give Up The Crown", "The Colonel", and "Gun" are other prime examples of this, packed full of assembled vocal harmonies, contagious riffs, and rhetoric. With tracks like "Glory" and "Homage", Terry allow their fans to see a more laid-back side of their personality. Supplemented with fluorescing synth lines and adopting an unhurried pace, both songs lull you into a false sense of pleasantry, only to pack a greater punch when lyrics like "Off his bloody head goes", or, "No head, no choice, no land, no time, no crime, no good" surface. "Take Me To The City" is a similarly evocative stroll through the "bright night city lights", with Amy and Xanthe listing their nightlife observations over languorous guitar lines and programmed drums. Terry prefer to make a profound point in a quiet way, hectoring bypassed for self-revelation. The truth is in there, just skating below the surface of their glammy, country-stepping punk/pop odysseys, you only have to listen carefully. Remember Terry is a fitting follow-up to last years celebrated debut album. Throughout an expansion of sound and subject-matter though, Terry remain committed to telling it straight, reporting from the frontline of the political made personal. Digitized by Nick Kuceli. Mixed and mastered by Mikey Young." - Upset the Rhythm.

The folks behind this LP are same as those on the Jim Collins LP (which is long sold out) but I guess someone involved wasnt completely satisfied with the results so it was released under a different name. Its definitely got the same desolate downer folk/psych vibe with the ultra-mysterious presentation intact. Heres what I had listed for the Jim Collins a year or two back: "Easily one of THE best examples of "loner acid downer psychedelic folk" I have ever heard. References would likely include touches of Charlie Tweddle, Peter Grudzien, Skip Spence, Simon Finn, Bobb Trimble, etc. NYC psychedelic dealer Paul Major describes it as sounding like what a Jandek album might sound like if any of them were actually any good. Most importantly, unlike other "acid folk psych" records where youre left wondering where they might have hidden the "acid" and "psych" parts, this record is full of distorted and wah-wah electric guitar leads throughout both sides. The catch here is that nobody can tell me when, or exactly where, this is from. I know its US and I am fairly sure its not more than 5 or 6 years old, perhaps only 2 or 3 (but the fact that its on LP and not CD clouds the whole thing); the sleeve is a killer purple psychedelic kind of Halloween painting and the whole thing just has the home made obscure-O vibe to the max. Already offered overseas in near 3 figure range and definitely going to climb when copies disappear. Thus far, nothing but high marks from everyone whos heard it." - Stan Denski. Early 90s (?) mystery which, after being unearthed by Denski and Majors, changed hands for $35.00+ right out of the box. Not sure how many were pressed but i do know that it hasnt been offered anywhere other than dealer lists. Got a handful of copies at a non -collector price."

“White vinyl. Terry is Al Montfort (UV Race, Total Control, Dick Diver, etc.), Amy Hill (Constant Mongrel, School of Radiant Living), Xanthe Waite (Mick Harvey Band), and Zephyr Pavey (East Link, Total Control, Russell Street Bombings). Inevitably, Terry likes to make noise. Drums, guitars, and all his voices come into play, making a solid raft for Terrys melancholic musings to navigate the languid rapids. This all unravels at its own pace, a conversation with the commonplace. Talk About Terry marks the bands first venture into the recorded domain, collecting three of the greatest misshapen glam pop tunes Melbourne has to offer.” - Upset the Rhythm.

"Includes download code. Love is a highway, but youre not likely to find Terry there anymore. Hes on the train. Terry saw the light, and he put on his sunhat. Ring Ring - "If youre carsick, get outta the car!" Theres only room for one big pug in this doggy daycare. Terrys taken to the night. Thank you nurse, Ill see myself out. LOOK! There he is, peeping through the cracks in your screen. Nuanced. Mercurial. Free. Blowing you a kiss. Marcel Marceau, Shmarshel Shmarsheau! But Terry? How unforgettable. What will you do when the cloud gives way? When the map leads you to a pile of potatoes? We wuz wrong. Hit me with your algorithm stick! Siri, is death an illusion? Siri, am I locked in a prison of my own making? Dont pull that thread kiddo. Siris gone. Talk about truth! But when youre ready for real answers? Talk about Terry. "Their debut single features three doses of shambly Television Personalities/Swell Maps style earworm indie rock." -- Brooklyn Vegan "A nervy throwback to that late-70s era when punk began to mutate in countless directions, matching a deadpan vocal with an incessant chord progression and piling on the sonic chaos. Why would you say sorry for that? they wonder aloud, and certainly theres no need to apologize for keeping this strain of musical antagonism alive." - Stereogum.

“NYC free jazz cooperative TEST was literally an underground favorite -- as part of the Music Under New York program in the 1990s, TEST was out on the street and subway platforms year-round, playing long-form unadulterated free jazz with an energy and creativity rarely encountered. Even on a scene known for strong personalities, these guys were renegade cats. Eremite heard and recorded TEST many, many times over a ten-year period; Always Coming from the Love Side, a two-CD set from TESTs 1999 US tour captured live by Malachi Ritscher at Fred Andersons Velvet Lounge just weeks before Y2K (on November 13, to be exact), is right up there among the bands strongest and most memorable performances. The cover photo, for those who dont recognize it, is of the Velvet Lounges legendary wallpaper. Other images include a portrait of Fred Anderson in front of the club (shot November 2005 byPeter Brötzmann just months before the building was destroyed by the city of Chicago to build a parking garage) and Tony Getsugs photos of TEST tearing up the bandstand there, as well as art and photography byJoshua Abrams and TEST bassist Matthew Heyner. Tom Bruno, drums; Daniel Carter, winds; Matthew Heyner, bass; Sabir Mateen, winds. Edition of 550 copies. Presented in a tri-fold Stoughton sleeve.” - Eremite.

"Oh funky boy. I love my weirdo friends. Esp when they record SCRAMBLED non music to the soundtrack of they weirdo lives. Remember when you used to get a record, play it, stare at it for an hour, put it black on, repeat, and be blank brained cause it JUST DONT MAKE NO SENSE. Well, you inzaniacs, heres another one. I mean Blake Hargreaves & Alex Moskos are some pretty strange dudes. I heard Alex got caught using actual live cats as stencils for graffiti in the catacomb walls of Montreal and Blake PRETENDED to work for the Canadian Senate for years to get access to a secret room in the capital of Ottawa that is used only to make a vile stew of illegal insect repellents & found river garage that they gave to the Canada postal workers to keep them from striking. As the story goes, in the darkest hours of the winter of 2009, the duo was sick with the flu from a long bout of STREAKING around the business district of Montreal, Alex & Blake took microwaved antifreeze and poured it over they primitive oscillators and filters, left them in a snow bank for two hours, stood facing separate corners in silence in the bright lights of their studio for another three hours, and then at 6:30 am: slammed a gallon of that sickly liquid inside those old wax lips from the 80s (alex found a case in alley when stenciling cats for a mural biased on the Packers Super Bowl Loss from last year) and RUSHED to hold the Guinness world record for the most CUBIST song 7" ever recorded. Sheesh. No joke. I think they won but the judge
thought the songs on this single were from a SEND IN YOUR LYRICS song contest they made for the failed robot boxers in the new Hugh Jackman boxing movie. Between you and me, they won. They didnt necessarily PRESS this record as they did unwillingly from a vision induced by YOGURT overdose at Bill Smith records from post dated expired DANNON marathon sessions at the plant.
NOTHING IS RIGHT on this single. SOOO WEIRD. File under = Goofy Tombstone Pizza Dirt. The only record at played at the Olzone crib where tovah thought it was on CHOSE YOUR OWN ADVENTURE records. So abstracted stoked on this i will spell it STO PKOKED. This here, are my weird friends and they PEAK MY LANGUAGE. B & W covers, edition of 200, numbered and hand stamped." -American Tapes

�??Tom Thayer is a NY visual artist who creates paintings, drawings, sculpture, music, puppetry, film and theatrical experiments. These works are often loosely strung, frail objects depicting dilapidated, fantastical scenes of abstract human and animal figures. This is his first record of music, self-titled LP, edition of 550, released on his own Cardboard Mirror label. From the artist, �??This record contains a broken, mildewed darkride of songs and beats held together by adhesive tape and string.�?� We saw his gig and there were bird puppets playing records with their beaks, speeding up/slowing down, pecking the vinyl. This recording�??remember the Plonsky record, or the recordings of Jean Dubuffet? Profound minimal electronic manipulation in real time by his own hand, mixed with crude sampling, creates a stunning first offering. Check his art at www.tomthayer.net.�?� - Sound At One.

"Reissue of the legendary Aurora album by the French band called Chene Noir in limited vinyl edition. Steeped in damaged atmosphere, theatrical hysterics, flute and crumpled rock, this one meets the freak-out mania quota of any Nurse With Wound list-disciple in spades." - Futura. Originally released in 1971. Highly recommended!

"New England has a long tradition of teenagers being raised in caves. Local histories are rife with descriptions of shaggy teenaged gangs appearing in towns and hamlets, usually in late Autumn, causing massive amounts of trouble before disappearing once more into the hills. The members of Thee Arcadians count no literal cave-dwellers amongst their number, but the semiotic weight of their message is as raw and subterranean as any you will hear this year. The band is young, but most of the members have been playing in various configurations since not long after ditching their diapers. Weve been hearing rumbles from them for as long as we can remember. But its only with the formation of Thee Arcadians, and their decision to stick around and work on their material for a (relatively) good long while, that were really able to appreciate how far theyve come. The material on this debut album wears some of its debts on its sleeve (Mummies, Ty Segall, etc.), but there are lots of wild tongues buried in the rush of raunch here. The album is a sweet slam to the side of your head, and will make you see stars in a whole new way. Packed in a lovely Gary Panter cover, this is what you always hoped New England Cave Teens would sound like. Dig It" - Byron Coley, 2015. Edition of 300.

"In a faraway land, where crystalline car dealerships and stately drive-thru slop shops stood immaculate, a band of sagacious, chemically-altered teaheads huddled in a vacant post office in a tent that was left there from the time of the Sumerians. This was in Hamilton, Ontario - early 90s... Anyway, the ceiling of the tent was deep space; constellations became their pets and unnamed planets became their personal pan pizzas... It was there that they met God, it was all Blueberry shaped non-sequiters and top-heavy answers, enough to cave in the cab of a cube-van. Upon stumbling out of the now fog-encumbered tent their heads were weighted down by the incessant drone of the spheres, a tinnitus-like unceasing that clouded their perception. With nothing else to help with this cochlear roar they harmonized, like a ragtag assembly of Beached Boys with an orphic caveman stomp that matched the brutal profoundness of the soul. And here it is - the selected works of Thee Gnostics, a band that ceaselessly put petals on wahwah pedals in the tradition of Hawkwind and the 13th Floor Elevators. This is a serious INSTANT CLASSIC.
Double cassettes come with a 48 page silkscreened/photocopied fanzine-style booklet, with re-appropriated poster art and with liners by Bruce Mowat. " -Beniffer Editions.

"Thee Ideal Gus began in Hamilton, New Zealand, in the early 90s, sprung from the same gene pool and time as Armpit, GFrenzy, and Pumice. Its participants include Sugar Jon Arcus, Clayton Noone, Indira Neville, Kaatarama "Motty" Morehu, Stefan Neville, Witcyst, Dan "Eemonk" Powell, and Rachel Garbott, but membership has never been settled or defined. The band have released numerous cassettes and lathe-cut records on such cult labels as Plop, Root Don Lonie for Cash, and Stabbies and the Rocket Recordings. Thee Ideal Gus love double-barreled year numbers, so during the year 1999, they conducted daily recordings in Whangarei and Wellsford in the far north of New Zealand, and Dunedin in the far south. Diaries were kept, artwork was assembled, and tapes were mailed up and down the country. In 1999, Stabbies and the Rocket Recordings released the resultant material as 1999, in an edition of 20 lathe-cut double LPs. 99 is a selection of material compiled from that ridiculous obscurity by Clayton Noone and Stefan Neville. The music Thee Ideal Gus made that year documented the days as they happened. It charted weather patterns, prophesied the future, and celebrated team sports. Eddie Murphy and Yoko Ono are held in equally high regard. Nude drunk partying and the New Zealand general election of 1999 are all there in this record, on which a rusted clothes line is played alongside an elementary school xylophone, sampled techno records, and ukulele through a heavy metal pedal. It is mundane and marvelous. Edition of 200 copies in very elaborate packaging, including prints on acetate, xerox inserts, and several hand-drawn original artworks." - Planam.

"Into The Light Records continues to shine light on the undiscovered heritage of Greek electronic music, highlighting the work of prolific Greek composer George Theodorakis on the labels third archival release. The Rules of the Game features mostly unreleased studio recordings Theodorakis made between 1978 and 1996, with the addition of selected material taken from his sought-after Margo and Sima LPs. George Theodorakis is the son of legendary Greek composer Mikis Theodorakis. Unlike his father, George only released four albums -- pressed in small quantities -- over a period of time spanning nearly two decades. Despite such limited official output, Theodorakis was intensely involved in music. George has always had the privilege of owning a well-equipped home studio -- the SSR Studio (1976-1984) and later the Theta Studio (1985-1987, 1993-1997) -- where hed spend most of his days working, often completely losing all track of time. These studios provided the ideal environment where he could explore new synthesized sounds and freely experiment. Although Theodorakis music can be considered reclusive, esoteric and personal -- especially if measured against the standards of most Greek productions of the same time -- a number of his compositions found their way into the soundtracks of theater plays, TV series, dance performances, etc. Theodorakis work was probably too forward-looking to meet with wider success and appeal to a broad audience back then; The Rules of the Game hopes to finally earn the composer the attention and acclaim his music undoubtedly deserves." - Into the Light.

“Bruit Direct Disques continues down the path of no-fucks-given with yet another ace from a deck already heaping with bewildering gems. In much the same way as Pier Paolo Pasolinis film Theoreme (1968) once fizzled the corneas of the prim, Theoreme, the artist, is here to singe ears on this blistering solo debut. Laying down all the instrumentation and vocals herself, Theoreme posits that spectres of the past continue to resonate in the contemporaneous milieu of the underground. This isnt some Erik Von Daniken Chariots Of The Gods bullshit - its the fucking truth. Deep inside the angular ingenuity of this chef doeuvre are subtle sonic vectors, analogous to Gutura, SIC and the corrosive side of the German label Zickzack; Channeled or not, the adage remains, "Great minds think alike". Its not definite that the French invented propositional logic, but they sure do guzzle it down. And Theoremes right there - two-fisted, bellied up and ready for guzzling. You want a cold war? Well son, here it is. Have at it.” - Bruit Direct Disques.

"This disc of gently processed field recordings flows as beautifully as the river on its cover. Burbling water, birds chirping, and other nasturalistic sounds are only the starting point for a startlingly pretty composition that incorporates these tiny glimpses of nature into a widescreen panorama as sweeping and open as the Western landscape. The result of long-distance collaboration, this discs organic, seamless sound completely belies those origins. Doug Theriault is a guitarist based in Portland, OR, best known as an improviser whos played with such diverse talents as Fred Lonberg Holm, Sean Meehan, Climax Golden Twins, and Noggin. Jeph Jerman is a multi-talented Arizona-based sound manipulator, known for ultra-quiet improv with natural objects and lo-fi field-recordings. Jeph and Doug have recorded together several times, resulting in 3 previous CD-Rs and a cassette, but this project is much different from anything theyve done together in the past. Comes packaged with special, gorgeous artwork: a gatefold cardboard sleeve with a real photo by Jeph attached. LIMITED TO 75 COPIES." - Fargone.

"The hippie groundswell of the late 60s left a lot of young people on the road to self-discovery in the new decade of the 1970s. Some were true "dropouts," but there were also a number of artisans and talented people out there, footloose yet fascinated with the workings of the world and determined to make something of the pieces theyd been given. THESE TRAILS echoes back to us from Hawaii, and specifically the world of the nature cult there. Hawaiis (comparatively) unspoiled wilderness bore great fascination to the gentle young people of the west coast back in those days. Musicians as diverse as The Beach Boys, Merrell Fankhauser, Sky Saxon, Dan Hicks and Ry Cooder all drew vibes and inspiration from the Hawaiian mystique and music-but These Trails gains distinction having been made by everyday-people-type inhabitants of the islands. Hiking, swimming and surfing were the auspices under which MARGARET MORGAN and PATRICK COCKETT first met. They were local kids, whod grown up on the island of Kauai. Theyd both been studying native Hawaiian music and their shared interests and island upbringing inspired them to write and play new music together. By the time this music got to tape, a greater environment had been created with the addition of DAVE CHOYs ARP synthesizer, Uruguayan CARLOS PARDEIROs guitar and sitar, and the soft rhythm of ipu, Hawaiis traditional percussion. The music of These Trails is a psychedelic bridging of folk musics that has a natural and melodic flow and a somber, spiritual air. These Trails was never really a band; it was an album of music. It wasnt pressed in any great numbers and created only a few ripples locally when it was released in 1973. Nonetheless, it was a powerful expression that stands with up other recently-discovered heroes of the private-press world, such as Linda Perhacs and Gary Higgins, whose singular musical endeavors stand with the best of what the hippified 1970s had to offer." -Drag City

"Unassuming and cathartic, the music of Chicagos Zak Boerger coils and swells in elliptical rings. His debut under the moniker These Wonderful Evils, Regine Flory, established this abstruse approach to songwriting. It meandered in the realm of lo-fi psychedelia akin to the 90s experimental New Zealand scene, but it never quite could find a foothold of distinction. Parade Room however does just that. Boerger whittles a small niche all his own out of the vast trunk of bedroom psych-rock, and its a quite stirring slow burn of a record.
Parade Room, Boergers sophomore effort as These Wonderful Evils, is almost a benign noise record, unrushed in the execution and more focused on the atypical melding of styles than the urgency of a message. Each layer of guitar tone feels meticulously appointed: just the right degree of fuzz atop the resonant tremolo of a softly wavering electric guitar atop lapping undulations of a warmly strummed acoustic. Each song is a splattering of melancholy with just enough direction to keep it moving forward, though without a particular destination. With the addition of infrequent harmonica and vocals à la a mumbling Lou Reed, it culminates in a steady rippling of melodic noise that cascades on your emotions, like Richard Youngs re-imagining the Laughing Stock-era Talk Talk sessions.
The album is separated into two parts: the first five tracks that drift in and out of song-based structures and the nearly twenty minutes of temperate guitar-psych that make up ⿿The Light Pours Out of D.C.⿝ Boergers talent isnt in his ability to shred for hours on end or annihilate your floor speakers with devastating outbursts of feedback; in fact, most of the album feels about a step slower and quieter than you are most likely accustomed to hearing in this genre, especially the epic closer. This intuitively captures the listeners attention as it mildly confuses the ears, and the subsequent concentration is rewarded with layers of sound to decipher. Much in the same manner of an early Stooges song or the Spacemen 3 oeuvre, the dragging pace doesnt inhibit the energy; it adds a palpable heaviness.
Boergers guitar playing feels more in debt to the late-60s British folk artists or the Takoma camp rather than any particular guitar virtuoso in the field of heavy electric psych, even though the final product sounds otherwise. And this patient twang, laced with odd-tempo trills and roundabout improvisation, gives Parade Room a more comforting folksy vibe despite the habitual use of distortion. Boergers music saunters, but it does so with a hair-raising effect. It will leave you tingling at the most frayed ends of your most sensitive nerves, a feeling at the core of psychedelias definition." -Michael Ardaiolo (Dusted)

"The debut album from Chicagos These Wonderful Evils is a dark, psychedelic meditation, echoing RICHARD YOUNGS & NICO, as well as the more experimental side of the VELVET UNDERGROUND. Voices & guitars buried deep in the forest are both familiar and chilling at the same time, from the drowning drone of the opener "North Atlantic" through the drifting, forlorn closer "St.Jo." - Reckless Records. Small repress. Numbered edition of 208 copies.

"This is the first in a series of solo percussion LPs on Ultra Eczema titled STS. A meditative psychedelic experience is what I would like to call this, though I realize I make it sound like a silly zen blowout, and thats not what it feels like at all! When I first saw it live in a giant church in Mechelen, Belgium, I was yelling this is the best show of the year. I thought there wouldnt be an end to it and didnt even feel a build-up to a more tense sound or a drone. There was a difference in resonating sound and it definitely changed, but as with more constructive minimalists such as Steve Reich or maybe even Terry Riley, you cant tell when things change. That experience got enlarged as well by the scenography he played in, a splendid eye-torturing construction, built especially for this piece by Antwerp-based sculptor Filip Metten. On record it feels different of course, as you can skip the needle up and down to the end and back, you can hear an enormous tension and sound difference. Though this piece is written for only a snare drum and a tiny bit of vocals (resonating with the snare drum) it sounds like either 20 people on a snaredrum, like if Glen Branca would invite 567 people playing the exact same snare roll, or like a choir, and by the end definitely like the sound of a Whitehouse LP; building up strongly to the point of absolute silence, which feels like a relief! This piece is based on a snare roll which changes 3 times. Live, this piece can go up to an hour or longer, on this record, it is one full side. The B-side is a psychedelic etch! Eric Thielemans is based in Antwerp, Belgium and has made percussive pieces for theatre, has played psychedelic guitar music with Mauro Pawlowski, spaced free music with Sickboy and Cassisini Division and a ton load of great free jazz with Andre Goudbeek and Peter Jacquemyn. This record is limited to 500 copies, has an insert and comes in a duo colored psychic design by Dennis Tyfus." -Ultra Eczema

"EARR plays a Snare is a Bell, is a revisitation of the roll and its overtones by an ensemble of musicians with very different musical backgrounds. The choice of musicians is above all a heart thing. I love hearing and seeing what they play. I like their recipes and the special cookies they bake. And I like sitting down and watching the stars with them. "So It started again with my snare drum and voice in a room, and we all listened and added voices and sounds to what we were hearing. As if we were all fishes in a stream. Sometimes just swimming, sometimes wanting to show ourselves, wanting to be heard, making sounds and noises, adding to that stream, sometimes just floating, breathing, hanging in there. And sometimes we heard not only single sounds but many sounds together and sometimes we heard a song. And we started to think about where all these sounds, songs and noises were coming from. And where they were going to. And we thought of all those recipes in all our grandmas and grandpas cookbooks, and all their grandmas and grandpas, and we started to feel simple and happy. Happy fishes in a big stream, watching the stars." -Sub Rosa.

“Adventurous Belgian percussionist Eric Thielemans makes a fairly unusual entry into the Miasmah catalog with the surprisingly positive-sounding album Sprang. Thielemans has actually appeared on the label earlier -- as guest percussionist on Krengs debut album LAutopsie Phenomenal De Dieu. Although you can recognize the sound on this record, the main focus of Sprang is to revert to the pure joy of sound experimentation and letting go of your foothold. Thielemans previous exercises in expanding singular ideas and rituals in the two genre-bending and theoretical albums, A Snare Is a Bell & EARR Plays a Snare Is a Bell (SR 339CD), inevitably leads to Sprang. Embracing the bliss of working freely with his many percussion tools, he creates 11 pieces that are both instinctual and industrial. His impulses evoke a calm yet alive atmosphere where there is always movement. The tones of dripping water, settling dew, and flourishing plants of spring are juxtaposed with unexpected sounds of motion, of factory equipment, and gears turning. Though Sprang is a solo percussion album, its detail and depth is something wholly unique. Thielemans broadens his theory that there is always more to hear, more depth to interpret, and a way for the listener to add their own elements and create something new. A welcome addition to the Miasmah catalog, whose slogan "music for scenes and places" maybe never has been more spot-on.” - Miasmah.

"Thigh Master have been mainstays of Brisbanes thriving underground guitar scene for years now, building up a formidable reputation for both their fierce live shows and their early recorded output. Their first two singles Head Of The Witch (2014) and Songs To Wipe Your Mouth To (2015) both sold out their initial runs after charming fans both in Australia and abroad with their urgent and catchy tales of inner-city malaise. They have already played with Guitar Wolf, The Coathangers, Ty Segall, Ariel Pink, The Clean, Real Estate and Courtney Barnett. Early Times, their debut LP, was recorded and mixed by Blank Realm guitarist, Luke Walsh. Once more Matthew Ford and company turn this introspection and angst into high art, with another infectious offering which is sure to turn heads in all the right places. RIYL: Kitchens Floor, Buzzcocks, Blank Realm." - Bruit Direct. "I havent been excited about guitar pop like this in a while, transporting a presence of Polvo/Archers-style string bend, plus huge riff from some 8000 miles away, familiar but still vital, and given exuberant, shook-up life." -Doug Mosurock, Still-Single.

"Old East Lansing Free Crew featuring Randy Sutherland (in SF now) and John
Coorz with various other jammerz circa 94-97. TE started as an Abbot Road house
band of Sutherlands and after seeing em play an amazing set at the Otherwise
gallery in April of 94, I asked to join em. After that, we played house
parities where we got paid to stop, Highway overpasses, bridges, train tracks,
streets, porches, music practice rooms on MSU campus, everywhere in the city. Randy
played drums, alto sax and various percussion things and I jammed alto,
handmade horns and electronics. We busted a few early AM tapes, had a killer
collection of getting busted tracks (cops, music school students, other haterz)
slanted for an early EF release, and that was about it. The Alt Country scene was
big in EL there, so we opened for those bands a million times and bummed
everyone out. Didnt have a single fan, tons of freedom to explore. The 7" and CD
contains various live gigs and other oddities, some with trumpet and other
jammerz but the sounds are pure primitive rambling barely organized free sounds.
Good youth crew times indeed!!! Edition of 200, color vinyl, color art." - American Tapes.

"Gatefold LP version. After more than 600 concerts around the globe, five studio albums, and a variety of live releases over the years, the Scandinavian garage, free-jazz trio, The Thing -- Mats Gustafsson (saxophones), Ingebrigt Håker Flaten (bass), and Paal Nilssen-Love (drums) -- are excited to present their sixth studio album, Boot!. As the first album on their new label, The Thing Records (in association with Austrian Trost Records), and first studio album following their collaborative release with Neneh Cherry, 2012s The Cherry Thing, Boot! is The Things most hard-hitting, open, and epic release to date. Recorded over three intense days, Boot! breathes life and energy, capturing the deep riffs and distorted activities of the electric bass, the attack of the snare drum, the depth of the bass sax and epic lines of the tenor sax. It marks an important development in the trios endless search of musical poetic meltdowns with its definite rock sound and open playing. Throughout, they transform their roots, combining their own free jazz and punk aesthetics with elements of Ethiopian music, soul, funk, and noise, and re-work album-oriented material by jazz icons, John Coltrane and Duke Ellington. With dedicated fans in the rock, noise, and jazz communities, Boot! takes The Things music to new, uncompromising levels and continues to solidify The Things special and important position in the contemporary independent music world." -The Thing.

"Garage is Scandinavian free jazz trio The Things acclaimed third album, originally released in 2004 by the Norwegian label Smalltown Superjazzz. In the wake of this albums original release, which was heralded by media outlets ranging from the BBC to Uncut to The Observer, the trio played a sold-out show in London with Four Tet and Prefuse 73 and embarked on European and American tours. Their performance at Oslos Øya Festival with Sonic Youths Thurston Moore as a guest guitarist was particularly mind-blowing, and the trio was soon invited by Basement Jaxx to play the Wireless Festival in London. Garage includes covers of songs by the Yeah Yeah Yeahs, The Sonics, Peter Brötzmann, The White Stripes, and Norman Howard, along with two of the trios originals. It was recorded on January 3 and 4, 2004, by Kai Andersen at Athletic Sound. Played by Mats Gustafsson: tenor and baritone saxophones; Ingebrigt Håker Flaten: double bass; Paal Nilssen-Love: drums, percussion, and megaphone-sampler." -The Thing.

"First time on vinyl. The CD edition was first released on Smalltown Superjazz in 2011. Pressed on 180 gram vinyl and housed in a gatefold sleeve. Includes a cover of Sonny Rollins "Alfies Theme." Members of Norwegian jazz supergroup The Thing include: Mats Gustafsson (bass, baritone, tenor and soprano saxophones), Ingebrigt Håker Flaten (electric bass), and Paal Nilssen-Love (drums)." - The Thing.

"This is the second album after Times Before There Was, recorded in 1969/70 in New York City. Lynn David Newton, Tom McFaul, Richard Stanley, Bob Stuhler (the drummer of Hot Tuna) and David Rosenboom (on 1 track) recorded 60 minutes of creative music which was never released before. Again, this is a musical masterpiece, well-composed, well-crafted, touchy and twisted songs with a big influence from the British Underground. On some tracks the vocals sound like Robert Wyatt in the early 70´s. If you like the Canterbury sound, art-rock with Underground roots, you will love this one. The album has 16 tracks, 45 minutes of music." #d edition of 350 copies.

"Third Door From The Left was a project formed by Raye Calouri (now in the band Hydra) and Kevin Thorne (We Be Echo). Both met at the TG/Cabaret Voltaire gig in 1978 and decided to join forces and make their own kind of music. The result of those session recordings between October 1980 and August 1981 has been astonishing and a classic of its genre. This classic tape-release is in line with the best Throbbing Gristle releases and, as a serious collector/listener to TG, you just cant miss this classic release!" Includes poster and 16-page booklet." -Vinyl On Demand

“On the occasion of the 2016 20th anniversary of The Third Eye Foundations 1996 debut album Semtex, one of the most influential drum and bass albums of its time, it is worth revisiting the career of Matt Elliott, its composer. Elliott was not even 16 when he decided to stop his studies and devote himself to his passion for music. He got a job at the famous Revolver Records in Bristol (profiled inRichard Kings 2015 book Original Rockers, which explains how the shop influenced the spread of indie music and especially trip hop) and began DJing in Bristol clubs, though he wasnt old enough to be there legally. Beginning as The Third Eye in 1993, he appeared on albums by Movietone and Flying Saucer Attack and started his own band, Lindas Strange Vacation, with Kate Wright and Rachel Brook; he also used the bands name for his micro-label, on which he released the first songs from The Third Eye Foundation. In 1995, Elliott was one of the very few artists involved in the tribute album for the famous US krautrock duo Silver Apples, Electronics Evocations. He was then invited to open for them on their US reunion tour. By the age of 20, Elliott had already been involved in nearly every area of the music industry. But the story was only just beginning. In 1996, he finally released his first album as The Third Eye Foundation, Semtex, on his own label, with support from Domino (the beginning of a longstanding collaboration). Recorded in a squat Elliott shared with Matt Jones from Crescent on a four-track recorder borrowed from Dave Pearce from Flying Saucer Attack and mixed with headphones at excessive volume (resulting in permanent hearing loss at around three kHz), Semtex is brutal and uncompromising. Featuring a mix of noisy, ripped-up guitars and hectic drum machines, with Debbie Parsonss vocals on some songs, it is the antithesis of electronic dancefloor music. It branded its style into Elliotts discography, in which social unrest, loneliness, political confusion, anger, and anti-establishment feelings are regular themes. This deluxe 20th-anniversary reissue includes eight previously unreleased tracks, mostly recorded on cassettes between 1991 and 1997 and all remastered by Anders Peterson. This expanded document testifies to the corrosive never-say-die attitude of The Third Eye Foundation. Play very loud (bearing in mind the risk of ending up completely shattered by music of such rare scope and scale).” - Ici DAilleurs.

"Numbered edition of 500 copies on 180 gram vinyl; glossy gatefold sleeve with insert. "With the help of many music friends and a lot of patience, we could finally arrange a deal to reissue the 3 albums by the South African band The Third Eye for the first time. The original pressing came out on Polydor. Perhaps Third Eye is the best band from S.A. with the most innovative and complex music. Most music lovers would vote Freedoms Children as the biggest influence in S.A,. rock, but Third Eye will share at least half of that cake. In cooperation with Dawn Selby (Hammond organ) and her brother Ron (guitar), this project came to life again. They where based in Durban, a coastal city several hundred miles away from the recording and musical hub of Johannesburg and started playing in 1968. The first album Awakening came out in 1969 when the female organ player Dawn Selby was only 14 years old. Just imagine her age when you listen to the amazing organ and piano tracks. Awakening was released in 1969 followed by 2 more albums Searching and Brother just one year later in 1970. What a musical output in such a short time. The band and composer must have sat on a volcano where they just waited to burst their music out onto the rock universe. Awakening is the most complex album of the three, with great brass arrangements, piano, Hammond organ, fuzz-guitar and vocals full of soul. Musically going in the direction of bands such as Electric Flag, The Flocks Dinosaur Swamps, Chicago, The Nice and Al Cooper. Pure electric underground of the best sort." -Shadoks

"Numbered edition of 500 copies on 180 gram vinyl; glossy sleeve with insert. "The album Brother followed the same year in 1970 after Searching. The music is closer to the album Awakening without the brass arrangements. More organ based compositions with beautiful vocals and guitars. We must mention here the amazing drumming and bass which holds the complete tracks together and drives them forwards. As a musical comparison we would mention again the bands from the US and UK underground, such as Electric Flag, Chicago and Keef Hartley Band. But we must say, if bands from South Africa were not banned in Europe and the USA at the time the albums by The Third Eye came out, they would have become as popular and even more as the mentioned bands from USA and UK. All three albums are killer albums and we would not want to miss one of them." -Shadoks

"Numbered edition of 500 copies on 180 gram vinyl; glossy sleeve with insert. "The album Searching followed a year later after Awakening. Today originals of this album are rare as gold dust and, among two or three others, the most valuable collectors item from South Africa. Many collectors who have basically everything in their collection are missing this one. The music is heavier, the lyrics full of political statements, more psychedelic and a bigger step down into the musical underground. The 14-minute track Awakening is really amazing, with tons of great organ parts and extra heavy fuzz-guitar." -Shadoks

"Gentleman of leisure Ricardo G, serves up two Flexi Pop style rulers complete with twists, turns and a BIG personality. Its always summer in Miami, and that shines through on "Polar," a true-blue a-side. "Nowhere to Run..." bubbles and bristles under a lathering of paranoia. Two lovely and odd tracks with screenprinted covers." -Die Stasi

Repressed. "Second pressing of vinyl re-issue. First official vinyl re-issue in collaboration with original band members Charles Bullen and Charles Hayward. 24 bit/96 kHz re-master from original analog tapes. 80 gram wax housed in an expanded gatefold tip-on jacket. Includes booklet with track notes and archival photos. With their debut album and follow-up maxi single Health and Efficiency, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock, placing the trio -- Charles Bullen, Charles Hayward and Gareth Williams -- at the forefront of experimental music. However, 1981s Deceit is the one that truly deserves its reputation as a classic of the post-punk era, tying up the myriad threads of their work so far and adding accessibility and melody to the still furiously forward-thinking sound. Recorded in a variety of studios including the bands own Cold Storage, the 11 tracks put a sense of social anxiety and global paranoia to the fore. Some lyrics were “harvested” from TV commercials ("Sleep"), others described the curtain-twitching of surveillance society ("Triumph"), and some were screamed with raw, ragged abandon, like on "Makeshift Swahili". "Makeshift was a big learning situation for me," says Hayward. "I learned to let go with my voice, to release the energy that each song required, no matter where that might lead. The song, about the collapse of language, was central to the Deceit idea." Musical innovations abound too -- drum tracks were recycled from other recordings, albeit in manipulated and mutated form, and "Independence" reverses the melody of earlier track "Fall Of Saigon". Its an album whose themes and sounds unfurl before the listener, the mood of edgy, pre-apocalyptic tension growing throughout. Says Hayward: "I still think of this record as a dream within a dream." This Heat split a year after the release, with Bullen and Hayward completing the final tour without Williams. Hayward went on to form Camberwell Now and Bullen recorded as Lifetones. A tentative 2001 reunion came, tragically, too late -- Williams died of cancer within a month of them meeting to rehearse." - Modern Classics.

"First official vinyl re-issue in collaboration with original band members Charles Bullen and Charles Hayward. 24 bit/96 kHz re-master from original analog tapes. 180 gram wax housed in an expanded gatefold tip-on jacket. Includes booklet with track notes and archival photos. With their self-titled debut, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock. The album took the trio -- Charles Bullen, Charles Hayward and Gareth Williams -- two years to create, and placed them at the forefront of experimental music. The follow-up, the 20-minute Health and Efficiency, proved to be a less labored -- and more conventional -- record to make. Bridging the gap between the debut and their masterpiece, Deceit, the 1980 release found the band settling into a groove at their studio, Cold Storage. The eight-minute title track, remembers Charles Hayward, "was improvised pretty much fully-formed," and included the sound of the neighboring schools playground and the band rolling bottles around in the gallery space next to their studio. Thats where they found the maxi-singles sleeve too -- Pete Cobbs blue and white image was on display in the same gallery. As Charles Hayward notes: "Everything seemed to fall into place." On the B-side, the drone for "Graphic/Varispeed" came from the song "24 Track Loop" on the first album, albeit manipulated, slowed down and sped up. "In the process, we realized that we liked the morphing of the sound from one state to another as the vari-speed combed the sound across the equalization, like a microscope. So we recorded the process itself, which is what you hear here," says Hayward. The intention was for the single to be able to be played at 33, 45 or 78 RPM -- which youre welcome to do with this reissue, too." - Modern Classics.

"Between Blue & Yellow and Deceit came the 3" EP, Health and Efficiency. It bridges a gap between the mostly improvisational former, and the highly composed latter, showing great diversity in the bands sound in general, as well as nicely documenting their two extreme directions. The title track is This Heats single most high-energy piece ever, and is a tour de force of singing, ensemble playing and sound texture. It is propelled along by Charles Bullens signature guitar strumming & ratcheting harsh picking, and includes an extended coda section, where the solos are tape loops and field recordings of such unlikely instruments as dishes clanking around in the sink, a childrens playground, metal clangings, hoots & howls, as well as tons of tonalities whose impetuses can only be guessed at now. It evokes the darkest aspects of This Heats musical beauty, and the drumming throughout is explosive. Graphic/Varispeed is a completely different kettle of fish; a trance-like VSO experiment meant (on vinyl) to be listened to at 33 1/3 and 16 rpm, as well as the original 45 rpm (the version on this disk): A single tape loop from a section of the first album is processed to the point of unfamiliarity, stripping it of almost all motion, save for the changing of pitches, which become increasingly more radical as the piece unfolds. It is one of the bands most experimentally sound moments, and serves as the direct antithesis to the title track." -This Is.

"Until now, the only live This Heat has been a long-deleted cassette version of a concert from Krefeld, Germany, from 1980. At last, we are able to officially release private recordings from the bands live repertoire, circa 1980-1981, taken from concerts in Tilburg, Nijmegan, Arhus, Appledoorn, Vienna and Rheims. The trio rip through some highly-charged versions of classic pieces from both Blue & Yellow and Deceit, as well as an improvisation (Aerial Photography, the tone of which could well be the backing track for their classic, Triumph) and one previously unheard song (The Rough With The Smooth, circa Deceit). This disk is a must for all This Heat fans: it gives us alternate versions of their classics, whilst documenting the immense energy and tonal quality of their live shows from that period." -This Is.

Artist: THIS HEAT
Title: Out Of Cold Storage
Format: 6 CD Box Set
Label: This Is
Country: USA
Price: $92.00

"The complete official lifetime releases of This Heat: This Heat, Deceit, Health and Efficiency, Made Available and Repeat, re-mastered and re-packaged, with a substantial (48pp) book of interviews, recollections, information, documents and photographs in a sturdy box, PLUS a new CD of concert recordings." - This Is.

"Repeat is This Heats fourth album proper, posthumously released in 1993. It harbors the most extreme musical side of This Heats experimental tendencies on disk, and is assuredly the bands most radical offering. The title track is an oxymoron: An extended/edited version of the piece 24 Track Loop, which had been previously issued on the Recommended Records double-disk sampler in 1981, heard here sans the harmonizer effect. The original tracks were produced by David Cunningham (Flying Lizards) and Anthony Moore (Slapp Happy-Henry Cow). Metal follows, and is essentially the late Gareth Williams leading the others in the band on a acoustic foray: ...recording metal sculptures, mostly -- rejects from someones studio -- some corrugated asbestos, and a lot of scrap metal, as Charles Bullen recollects many years later. The result can only be likened to the works of master electro-acousticians Denis Dufour and Francoise Bayle; an approach as far removed from rock music as can be, elucidating the cutting-edge nature of This Heat when not confined to the premises of compositional thought. Graphic/Varispeed is an alternate, 33 1/3 rpm version of the piece heard on Health & Efficiency. Originally released on 12" vinyl, the speed setting and track timing were not specified, leaving the listener in a quandary as to its intent, but ultimately (and altruistically) leaving the public to decide the fate of the piece. HOWEVER, by issuing both versions on two separate albums, the enigma cleverly lives on." -This Is.

Repressed. "Second pressing of vinyl re-issue.First official vinyl re-issue in collaboration with original band members Charles Bullen and Charles Hayward. 24 bit/96 kHz re-master from original analog tapes. 180 gram wax housed in an expanded gatefold tip-on jacket. Includes booklet with track notes and archival photos. Isnt it so often the case that the most innovative works of art -- the ones that break the ground where others follow -- are the ones that seem to reach only the ears of those who take those ideas and run with them? So it is with This Heat and their eponymous debut album frequently referred to as “blue and yellow” for its ultra-minimal jacket. Within its 48 minute run time, the seeds of post-punk, avant rock, noise rock and post-rock can be found. Formed in Brixton, a multicultural, and -- at the time -- down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough. Their debut album had -- for the time and for the DIY scene -- an unusually long gestation, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did -- including gigs -- and tracks such as “Water” were entirely improvised in the studio. Given the difficult, abrasive, and involved nature of their sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience -- whether that audience was ready for them or not. Celebrating This Heats 40th anniversary in 2016, Modern Classics Recordings will re-issue the bands catalog -- 1979sThis Heat, 1980s Health and Efficiency, and 1981s Deceit -- with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heats process can once again be a revelation for new audiences." - Modern Classics.

"This Heat, the band, emerged in early 1976 on the leading edge of what became the New Wave, but they were always apart, more scary and more subtle. Known as the most left-field, and at the same time most hard-edged, band in all of England, their concerts attracted experimental, punk and new wave audiences alike. Just a handful of performances made them the band everyone had to see, and every journalist had to interview. And the more we knew, the more enigmatic they became. This Heat was a passion. The band worked day-in, day-out for years in their own, now legendary, studio in Brixton (Cold Storage - sited in an old industrial meat refrigerator), or they were away somewhere touring abroad. In this hothouse environment, their material evolved and grew, and became increasingly intense; on the one hand more cuttingly simple, on the other more layered and more dense. When their first LP - itself several years in the making - finally appeared on David Cunninghams Piano label in 1979, with its distinctive blue and yellow sleeve, it acquired immediate iconic status. And over time it has also proved itself prescient; there are musical innovations here that anticipate genres that would take another 15 years to reappear. This Heat, the record was a landmark release. It tore up the book and laid new rules for band composition and performance. The music was without precedent; the musicians uncompromising; the recordings hammeringly intense and the sound deep, radical, and rich. This was music stripped back to the bone but never simplified. And it hasnt aged. The later CD version of the LP has now been out of print for some fourteen years (and is currently fetching $300-$350 second-hand), so this edition, the first on the new This Is label, re-mastered and repackaged by the group, will be doubly welcome. It is the first of a series of historical This Heat re-editions and unpublished works by the band to be released on this dedicated label." - This Is.

Edition of 25. “A fragmented suite in anywhere from two to ten parts (depending on how you count) by this Glands of External Secretion spinoff group. Strewn throughout its genetic make up are: not-quite-outsider freedom familiar to anyone on whose face Melon Expanders Brain-Sucking Peanunanners CD put a smile; field recordings from recordings from locales rural, urban, foreign and domestic; and ahem, “musical” moments where naïve, intuition-based curiosity is satisfied with squeaky duck, Taiko drum, nut shells, recorder, piano, voice, slurping, and guitar. All scrambled in a primitive, musique concrète style.
Comes in a risographed cover with antique inner sleeve and some stickers.” - Psychic Encumbrance.

"Recorded in Auckland in 1984, these archival tracks capture seminal New Zealand band This Kind Of Punishments unique alchemy of poignant melody and four-track claustrophobia. The previously unreleased Radio Silence offers an astringent, phantasmagoric comment on -- and perhaps retreat from -- the contemporaneous NZ scene. Reaching An End (from legendary compilation Killing Capitalism With Kindness) is a classic in the mold later perfected on Peter Jefferiess solo output: unadorned piano blanketed by rich, wistful vocals, plucked strings and muffled drum beat. Less, after all, can be so much more. Cover photography by Chris Knox. Translucent orange vinyl pressed in limited edition of 1,000 copies." - Superior Viaduct.

"This 1983 album was Peter and Graeme Jefferies? first foray into 4 track recording; at Chris Knox?s insistence it was initially pressed by Flying Nun but it was out of print for years before Roofbolt reissued it in 1998. This is what happens when a couple of New Zealand country boys shut themselves into a big city flat with a borrowed tape machine and their well-studied John Cale, This Heat, and Wire records. The Jefferies brothers have subsequently recorded under their own names and with the Cakekitchen, Two Foot Flame, and about a dozen side projects." - Roof Bolt.

"Thollem McDonas : This is the third trio album Nels and I have made together, each time with a different 3rd partner. The previous two were The Gowanus Session with William Parker and Radical Empathy with Michael Wimberly. Though each session has been unique in itself (different prescribed approaches, the environment and of course the uniqueness that each individual brings), there are definitely overarching themes pollinating each album. As the instigator of each of these sessions, Ive always been curious about the sonic experience created each time a unique combination of musicians gather. So, in a sense, this is really kind of a scientific experiment with a control and a variable. I also love the trio format: theres plenty of room for everyone, yet still many possible depths of complexity in relationships between the individuals. The three of us seemed immediately intertwined, psychically and sonically. An amazing place to record with amazing musicians/human beings. I think it all comes through in the recording... an experiment with fascinating results!" Pauline Oliveros : "This recording brought us together for an unusual musical conversation. There was no plan or guiding structure. Thus the conversation set the pace between eGuitar, V accordion and piano. Each of us contributing, conversing in response to the other from our own individual perceptions. The music develops as a result of those moments of conversation. As different subjects are triggered or introduced the conversation shifts, turns and integrates making the music. Nels Cline : "It started on a beautiful sunny day in a rental car to Accord, NY, Thollem at the wheel, his lovely partner Angela riding shotgun. Thollem had instigated yet another miraculous and rather unexpected improvisatory recording session. This time, I was really going to meet the legendary Pauline Oliveros and improvise with her -- and Thollem, of course! We met at a market and caravanned it to a beautiful barn studio. Pauline was immediately welcoming and gracious -- a good start! A few improvisations, some bucolic photos, and precious lungfuls of sweet air later we were headed back to The City. How was that? Did that really happen?? Yes, it really did. A concentrated portion of our probing explorations is thankfully here, on this petrochemical slice: Molecular Affinity. Its a good thing!" "Jacket & label are adorned with confocal microscopy images of a Coleochaete green algae, by Fernán Federici. Download coupon included." - Roaratorio.

"There are records that stimulate curiosity to the extreme, records that make you want to dissolve yourself into the intense and beautiful surprise this music will bring. It is undeniable to the delighted ear that this exhumed document contains all the assets of the historical output, of the record that one would dream of waiting for long if one had known it existed. This rough edit, done within urgency by Jacques Thollot, testifies of a unique experience: the concert of Intra Musique at the Faculty of Law in Paris, an uncertain evening of 1969. The devastating gab of the two acolytes Jacques Thollot and Eddie Gaumontmade the concert take place, on the ploughed earth of May 68, in the same faculty where so much was discussed and, thanks to the success of the previous concerts of the association of students, that allowed the risk of hiring the thundering dream team. Unique because there will never be another replica of what Jacques Thollot called "a movement," involving Michel Portal (tenor sax), Mimi Lorenzini (guitar), the rare Daniel Laloux (tambour), Jacques Thollot (drums and tapes of recorded experiments, those that will build the skeleton of the magnificent Quand Le Son Devient Aigu Jeter La Girafe À La Mer LP on Futura (1971)), and Eddie Gaumont (guitar, piano), the instigators of this journey. Captain Eddie Gaumont will capsize shortly after, sunk by a too intensely dark life; sad coda putting an end to the project. There is also the undeniable whirling of the mentors and companions spirits of Jacques Thollot, such Don Cherry, Steve Lacy, Bernard Vitet, and Jean-François Jenny Clark, and the hard to describe succession of precious moments: that oblique spiritual-jazz, that other staggering ballad, or that primitive fever of essential nervous flights, that almost psychedelic proto rock; alternations of radical free music to those magnificently classic, overwhelming achievements. Jacques Thollot is not just one of the greatest abandoned jazz composers: he is the one who abandons himself to all its forms. Co-produced with Jac Berrocals historical dAvantage label. Comes in a full-color gatefold sleeve; Edition of 350." - Alga Marghen.

"One of the most exciting finds in recent years is the previously-unreleased album from 1967 by this obscure U.S. psychedelic band, recorded around the same time of their ultra-rare Common Attitude 45, (famous for appearing on the Alien, Psychos & Wild Things comp). Led by the great Richard Orange,Thomas Edisun played Beatlesque, psychedelic pop/proto power-pop of the highest order with amazing songs and incredible harmony vocals. In 1967, just after Sgt. Pepper had come out, the band decided to register their own psychedelic masterpiece, so they entered a rudimentary studio and recorded a whole album during a weekend, under the influence of "smoking" and "mind-altering" substances . The album was never released, the tapes were stored in attics and basements, and the band broke up with some of their members forming cult power-pop band Zuider Zee.The Red Day Album ranges from pure Emitt Rhodes-Macca pop to Forever Amber/Lazy Smoke-styled lo-fi pop-sike and almost early Caravan keyboard freak-outs. Remastered sound from the original tapes. Includes an insert with photos and detailed liner notes by Jeremy Cargill (Ugly Things/Got Kinda Lost). Includes a 7" repro of their rare Common Attitude/No Ones Been Here for Weeks 45." -Guerssen.

"Two unreleased tracks from THOMAS JEFFERSON SLAVE APARTMENTS, taken from a 95 demo (possibly funded by Dinosaur Mahaffey) that mostly featured tracks which would later appear on their second LP Straight to Video. B-side "Price of My Words" is described by RON HOUSE as an eggy version of "Lightnin Rod" from said record, while A-side is a woozy, entirely new, old hit sure to give you a hangover tomorrow." -Negative Guest List.

“Formed in Columbus, OH in 1988; Thomas Jefferson Slave Apartments first released a number of 7”s via Datapanik and Siltbreeze before eventually going on to sign in 1995 to Onion Records lead by Johan Kugelberg, an imprint of Rick Rubins American Recordings. After the eventual folding of Onion a few years later, Straight to Video – though promised to the defunct label, resurfaced as a CD only release in 1997 via Anyway Records. The title Straight to Video derives its name from the second-hand nature of being passed along to Anyway records by circumstance; as well as the crap-shack CD only format. Not only does this release mark its first release on vinyl, it presents a missing piece of underground music history. TJSA are best known for Ron Houses apt and acerbic lyrics; with an unparalled stage presence couched in first-wave CLE Punk; and guitarist Bob Petrics evident lifelong-obsession with classic rock meets dirt blooz fullstack-riffs.” - Straight to Video.

"It seems inconceivable now, but back in 91, foreseeing the impact of Nirvanas Nevermind on Americas underground music scene, or the subsequent feeding frenzy, was virtually impossible. Overzealous major-label A&R reps stalked this nations bars n basements for the next few years like ravenous chickens in pursuit of an elusive grasshopper they couldnt see but knew existed. It had to! Many alt-rock Orthopterida were snared, none of whose stridulations seemed to resonate in a manner deemed by the greedy as a prerequisite for sure-fire bankability, and thus the hunt continued. By 1995 an enterprising yardbird strutting his stuff for the Onion label (a division of Rick Rubins American Records) had pecked his way down the trail to Thomas Jefferson Slave Apartments. And before you could say “Coq au Vin,” a deal was struck and their sneeringly great debut LP, Bait & Switch was (ostensibly) available for mainstream consumption from Caribou, Maine, to San Ysidro, California. How well it sold is a quandary to explore on a day far rainier than this, but it was chock full of the bands best numbers (at the time), an inexplicable Electric Eels cover, and a scabrous stab at the Rock & Hall Of Fame, which, predictably, garnered the most widespread attention. Whatever, something mustve been working, cause unlike their label peers (V-3 and Stiffs Inc.), TJSA turned in a follow-up long player, Straight To Video, and it was a hummer.
But Onion had other ideas, foremost of which was a quick vamoose into the ether of non-existence. The label shuttered its doors, and in one fell swoop, the band was paid for, then handed back, their effort. And so ended TJSAs brush in the bigs. Undaunted, they began the search for its next home, calling on labels such as Treble Kicker, Vinyl Communications, and Roadrunner, only to be ignored time and again. A pall of uncertainty loomed, with the fate of bands finest effort hanging in the balance, when suddenly, local label Anyway Records — flush from the proceeds of winning an Ohio State pie-eating contest — stepped forward to grant Straight To Video the mortality it so richly deserved (“mortality” being code for “CD only”). Fanfare was zero. Not even a press release. However, the distribution was solid enough, but to a person, every fan of Straight To Video would tell you it was meant for the grandeur of vinyl, not the cheap vacancy of a compact disc. As sophomore efforts go, the numbers that this is better than (J. Geils Bands The Morning After, for sure) far outweigh those it is not (Born In A Barn is a tough one to top). Ron Houses lyrics peak with his inimitable wit and wisdom, his delivery as rich as Chinese takeout for Sunday dinner. Guitarist Bob Petric tempers those pummeling, EVH-like power chords with soaring, uncanny Schenker-esque fluidity while the rhythm section of bassist Craig Dunson and drummer Ted Hattemer rudder this fucker with such precision, the best thing you can say about em is you almost dont even know theyre there.
Its taken almost 20 years for justice to find its mark, but Kellie Morgans Straight To Video, THE LABEL, has made it possible for Straight To Video, THE RECORD. So, to quoteth the bard (aka Ron House), “When the entertainment ends, thats when the fun begins.” So whaddaya say? Lets get this party started!" - Tom Lax (Ambatofinandrahana, Madagascar, 2015).

"Comprised of material recorded between 1989 and 1994, You Lookin for Treble? is the musical equivalent of Thomas Jefferson Slave Apartments junior-high yearbook. A document of the bands early, occasionally awkward stages, the album is marked by lineup shifts (detailed in the liner notes) and the usual trappings of a new band trying to find its sound. Over the course of Treble?s 20 tracks, the band gels into an abrasive, yet danceable, noisy punk outfit (fittingly heavy on the treble all the way around) led by vocalist Ron House who was quite clearly trying to distance himself musically from his recently disbanded bouncy rock/new wave outfit Great Plains. With the rhythm section in an almost constant state of turnover, the bands sound is defined by Houses snide tirades and Bob Petricks nimble guitar work characterized by a winning balance of barred chords and false harmonics (also present in Petricks other first-rate outfit, Girly Machine). Of the songs included on You Lookin for Treble?, only one, "You Cant Kill Stupid," ever found its way on to a proper Thomas Jefferson Slave Apartments studio effort (a cleaned up take appears on 1995s Bait & Switch), though several others can be found on the bands impossible-to-find early singles and their infamous promo-only 10", as well as various compilation records (at least half a dozen of the songs are available on volumes one and two of Datapanik Records Greatest Hits). You Lookin for Treble? serves nicely as the missing link between Houses exit from Great Plains and Thomas Jefferson Slave Apartments 1995 major-label debut, Bait & Switch, on the American/Onion imprint." - AllMusic. Sorta tough to find, not very well distributed, 1997 release from Ron House and crew. 500 pressed.

"Twelve of our favorite songs by amazing Texas blues songster HENRY THOMAS. Thomas recorded a couple dozen sides between 1927-29 often accompanying himself on the quills, a pan flute sounding instrument. A traveling musician with an older style than many of the country blues musicians recorded in the 20s. Includes his classic numbers Fishing Blues, Railroadin Some, Honey, Wont You Allow Me One More Chance, the beautiful gospel number Jonah in the Wilderness and many more." -Mississippi.

"Mermaids includes four tracks composed and recorded in early 2013. The concepts of the work are built around freedom - expressed by the use of the audio glitch - and unity framed in metaphors of water and transformation. All sound sources are mostly from the human voice. Jo Thomas is a London-based composer teaching sound design, composition and music technology at the University of East London. Her compositional work is primarily focused on the use of human voice, microsound, and technological artefacts. She has written electronic works in the studios of INA-GRM in Paris and EMS in Stockholm. She won the Golden Nica for Digital Music at Prix Ars Electronica 2012 for her work Crystal Sounds of a Synchrotron, and her album Alpha (Entracte) was nominated for a Qwartz 7 Award in 2011. Edition of 250 copies." -Holidays.

"The fourth volume in our North Portland Music Series -- a most unusual record. Ural recorded this in his house with a bunch of neighborhood kids back in 1970. Fade Away is reminiscent of the bad trip portion of Sly & the family Stones Theres A Riot Goin On. A lazy funk riff is accompanied by drony vocal incantations & kids blowing into sawed off bed posts as if they were trumpets! It really happened. Smile is a more straightforward simple ballad wherein Ural sends a positive message out to the world. Ural self pressed 300 copies of this way back when just to prove to the kids accompanying him on it that they can do anything they want if they put their minds to it. Its message rings true today. Housed in a thick old school tip on sleeve." -Mississippi

"The third volume in our North Portland Music Series, two great soul songs by local legend Ural Thomas recorded in 1960. Push em, Up is an upbeat soul stomper for the dance floor. Deep Within My Heart is a pretty ballad with tight harmonies & lots of groove. Ural is an underappreciated musician who toured opening for Otis Redding back in the day, had James Brown plagiarize his style, played in countless bands in Portland & Seattle, built a house out of debris salvaged from the Willamette river, mentored countless kids in the neighborhood, & probably wrestled an alligator or two. Proof that unsung heroes live right in our backyard. Housed in a thick old school tip on sleeve." -Mississippi

"Mayo Thompsons until now ultra-rare solo album. The album was produced in Houston, Texas in 1970 by Thompson, Frank Davis and Roger Rocket Romano for the short-lived but nonetheless legendary Texas Revolution label of Walt Andrus. Though pressed and advertised in the pages of Rolling Stone, the demise of the label meant the album went largely undistributed until the mid 1980s when Glass Records (London) gave it its first proper release. Coming as the sun set on the first psychedelic rock era, Corkys Debt evokes the early days of acoustic blues, but is already in the maelstrom from which punk rock would emerge just a few years later. The set features innovative performances by some of Houstons finest musicians of the time playing eleven songs by Thompson - one with Frederick Barthelme, with whom he started The Red Crayola. They represent a broad range of expressive manners and forms. Made to stand with the finest comparable work of the period, Corkys Debt shows Thompson at his most accessible. Unique ballads, blues, rock and love songs flow one to another with style, grace and intensity, and the handling of diverse popular-music idioms and language that characterize his more widely known work in The Red Crayola are also to be found. The line between genius and madness is very thin." - Drag City.

"One of the great Drag City releases (and one of the great American music solo albums) finally on vinyl again." - FE. "In 1970, Mayo Thompson (once-and-future leader of The Red Krayola) recorded an album entitled Corkys Debt To His Father. Walt Andrus Texas Revolution label released the record -- but just barely, selling a few hundred LPs with no promotion to speak of. The copies that made it into shops became the treasured objects of taste-makers around the globe -- which made Corkys Debt To His Father an influential record down the years. As punk rock, new wave, post-punk and all the rest came along, it was inevitable that this lost classic of independent music would be discovered by a wider audience. In 1988, the album was reissued on the UK Glass Records imprint but went out-of-print again in short order. Then in 1994, Drag City brought Corkys Debt To His Father back to the USA, as well as to the CD format for the first time. Additionally, a third pressing of the vinyl was made. The CD has been a perennial favorite ever since -- but after just a few months of robust sales, the LP artwork and jackets were destroyed in a fire, thus putting the end to the life of Corkys Debt To His Father on vinyl once again. A fast fourteen years later, its our pleasure to bring this classic of two-sided entertainment back to the table (the turntable, that is) with a special limited-edition pressing of Corkys Debt To His Father. Wrapped in a jacket that recalls the halcyon days of solid LP dominance, this new pressing comes with a 7" single featuring the instrumental Woof, which was recorded at the same sessions but not released until The Red Krayolas 2004 compilation CD Singles. The B-side of this single is a never-before heard take on John Cages 433" played by fellow traveller Sergei McUgly."-Drag City

"Odd serially-inflected compositions for classical guitar. A wide breadth of obscure and fragmented influences represented here, all internal. Carter Thornton of Izititiz and Zakashi-Warashi." -S@1. "If you are a fan of the archaic format of music storage and delivery known as vinyl then you are also probably experienced in the art of search and rescue when faced with a pre-auction era, dusty, moldy shop filled to the rafters with such blasts from the past. Every now and then one comes upon a platter in one of these fading outposts, marked at about $3.99. Cover seams split, maybe some radio call letters scrawled in marker, maybe a booze-coffee-bongwater spill splayed like a Rorschach on the back. Perhaps it is the cover art itself that draws your attention⿦ black and white photos seemingly from another time in content and message. Or perhaps it is the title of the album⿦the way it rolls off the tongue, its playfulness marked by a seemingly obscure reference. The fact that there are no song titles may pique your interest⿦ why is this? Are there even songs on there? You can see the gaps in the grooves so there is some sound being broken up with seconds of silence. You wipe the grime off the grooves with your shirtsleeve and take the disc over to the crappy player up by the register. You pop it on, slip the needle in the groove, and immediately you have the thought⿦ ⿿What the hell is this?!?!?⿝ Youre hearing one of those rare recordings of a singular and personal vision. A solo guitar performance that not only operates outside any current or previous fashions, but one that seems to render the idea of recorded music as commerce a nonreality. Although you are carried away with delight by the sounds you are hearing, you cant help but wonder why this person recorded this music. His intent is as elusive as the music he is presenting. It seems as though you are there with the player, this audio mirage helped by sounds of his chair creaking, his arm brushing against the side of his instrument, his fingers scraping across the strings. You purchase the item straightaway, as determined to figure out the history of the recording as you are to wear out its grooves with repeated listenings. With Ten Fingers for Forefathers the proverbial chase has been cut right to. Take a listen and see if you can crack the sonic code contained therein. Edition of 500 Recorded at Black Dirt Studio"- Black Dirt. Black Dirt is the new in-house label from Jason Meaghers (NNCK, K Salvatore, Coach Fingers, D Charles Speer and the Helix, etc...) Black Dirt Studios in upstate New York.

“2015 repress. 23rd volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. "This album was recorded in Paris on August 18, 1969 by Clifford Thornton (cornet and conga drums) with Grachan Moncur III (trombone), Archie Shepp (soprano saxophone), Arthur Jones (alto saxophone), Dave Burrell (piano), Sunny Murray (drums), Beb Guerin (bass), Earl Freeman (bass) and Claude Delcloo (drums)." - BYG. "Clifford Thornton was a player and a composer whose obscurity was offset by the high esteem in which he was held by his fellow musicians... like Shepp, Thornton was actively involved in advancing the ideology of the black nationalist movement... and all of his recordings are intense and important about those matters that were close to his heart -- liberation, communication and unity." - Thurston Moore and Byron Coley.

"Best known to garage enthusiasts for My Life, their stellar contribution to the second Nuggets box, Thors Hammer was also responsible for an incredibly scarce 1966 EP that is easily among the toughest records of the era. Ugly Pop now presents this long-overdue LP, compiling 14 mid 60s nuggets-- the above mentioned monsters included-- from these Icelandic garage legends, who seasoned their northern beat with some of the rawest, wildest fuzzpunk heard anywhere. Fully authorised high quality pressing licensed from SENA (Iceland)." -Ugly Pop.

"Those Attractive Magnets were created early 1980 in a town called Tamworth, the heart of the English Midlands, as a vehicle for Rikk Quay (keyboards) and Andy Baldwin (vocals). They self-released a super limited cassette EP, Pictures on the Wall in 1980 and the Nightlife/Love Chimes 7? in 1983 and appeared on a Futurist music compilation LP, Synthetic Romance in 1982.
Their music travels beyond copycat synthpop bands of the time into electronic realms of the 80s underground scene. There are some obvious parallels of the time you can hear the commercial strains of The Human League, Soft Cell and Kraftwerk at times but the band never wholly embraced commercialism as these tracks reveal. Although their sound takes a cue from the post-punk and early new romantic scenes, it still remains one step ahead in a unique futuristic world full of delicious dance beats!
Electromagnetic Pulse is the first ever compilation of a number of tapes Those Attractive Magnets produced during their three creative and prolific years of song writing, 1980-1983. This LP contains remastered versions of both songs from the 7? as well as 2 songs from the cassette EP and a different version of the song that appeared on Synthetic Romance; 9 songs in total, 7 of which have never appeared on vinyl until now! Limited to 500 hand-numbered copies with an 1117 poster/insert of lyrics, photos and liner notes by Sam Holliday." - Dark Entries.

Limited edition of 444. Includes hand-numbered certificate. "Recordings 1980-1981 is a compilation featuring Those Little Aliens & This Little Alien. There are several components that would contribute to what would become Those Little Aliens & This Little Aliens and the zine/labels Flowmotion, Image 341 and Un-Ltd Abilities, all run by British DIY protagonists Ian Dobson and Gordon Hope. The first of these came with the advent of punk and especially the "Anarchy Tour" which made its much-delayed debut in their home town of Leeds in December 1976 and introduced Ian Dobson to a scene that threw him into wholeheartedly as a seventeen year old looking for something different. With the "anybody can do it" ethos in mind, he invested in a cheap electric guitar and a drum kit. As the 1-2-3 of punk became either increasingly repetitive or commercialized, the drum kit was sold and the guitar was left to gather dust until early 1978, when an unlikely meeting in a record store with an intriguing sounding album in an almost plain white sleeve would turn Dobsons preconceptions of what music should be on its head. That album, Throbbing Gristles The Second Annual Report (IRL 001CD/LP, 1977), seemed to dispense with the ethos of "This is a chord, this is another, this is a third. Now form a band" altogether and suggested that those strange noises from a guitar were worth exploring. The advent of affordable monophonic/duophonic synths that didnt take up an entire room was also important. The recordings collected here using the Korg MS20, the Octave Cat, the legendary, but somewhat troublesome Wasp as well as the Korg SQ10 sequencer and the Boss Dr. Rhythm DR55. Recording was via a Tandberg 10x10 stereo recorder, Teac A108 Sync cassette deck through a Tensai 2030 amp, apart from the three compilation tracks which were recorded at the wonderful Colin Potters, a 4-track studio near York. All of this would have travelled no further than a bedroom in Harehills, Leeds without the humble compact audio cassette which, via a process known as "Magnitizdat", popularized by non-government approved bands in Soviet Russia, enabled the recopying and distribution of music for a minimal outlay, usually just a blank cassette, and stamps for the return postage. This release features the aforementioned compilation tracks along with tracks from the cassette releases Incident in Moderan (1980), Variable (1980) and Synthesizer Specialist (1980)." - Vinyl-On-Demand.

"The debut release of Thought Broadcast, Ravi Binnings minimal monosynth punk band. Four songs--this is the band in its most raw and nascent state--freshly generating within the strictures of neurotic action both human and inhuman. A simple strategy for moving among living holograms." - Gel.

"Emergency Stairway could have been Thought Broadcasts debut vinyl full-length. In fact, when commissioned in early 2012, only one 7" and two super-limited tapes were in existence, until some other label snapped to the finish with an even older commission. So, lets say an "almost-debut." Confused? Well, yes, thats probably the point. Ravi Binnings Thought Broadcast project oozes out a dank and confused audio experience isolated way beyond the city limits. A glance at the titles suggests a routing in the primeval real industrial mind-set, hooked up to classic dub sensibility. Listening to these fascinating recordings, one gets the impression something happened in the room that you are probably not supposed to know about, hinting at a twisted form of Aktionism. Beyond the analog grime (these tracks were delivered to label as cassettes, then carefully transferred and mastered at Dubplates and Mastering in Berlin) lays some real treats with "Orgone Theater" and "Portrait Heads" fitting neatly beside V.O.A.-era Cabs in your local disco. Simply put, a beautiful record." -Editions Mego.

"Second release for this NYC post punk unit. A brand new batch of minimal mekanopunk crossed with atonal dub electronics straight from the afflicted mans rhythm box. Fans of the Unbalance/Pinakotheca side of the 80s Jap underground or the more atonal avantpunk from the same time in Germany TAKE NOTE" - Heirodule. Edition of 50 copies, on cobalt tape with stamped insert and label. LP coming soon on Olde English Spelling Bee.

"You can not stop thinking. About 18, I finally calmed down, I thought I could stop thinking completely. I become a zombie for four years. Then, in a broken heart, I started again. I came out of the "grip" that held me tight. I started hearing voices. I also tried to kill time. First, you must confess that its people like you and I believe that is broadcasting the idea. It is terrible. When I look around, I am someone who is the same idea with me. My idea is to broadcast. You can read our thoughts. The first is that we can consider a bad idea (like gender or a persons weaknesses). Second, we believe that we have the power to make people read our thoughts, even if it is bad. Because it has the broadcasting of this thought, please consider why it is a lot of people. To hear any ideas you and I are thinking of and I thought of you. Some people think that for all this world, and you can hear what you think they are. The reason for this is that you can read the mind of everyone of us. There have been times when I have an idea that I will consider evil. I do not believe them, but I know they are in my own voice in my head. Then, I would think that they have been implanted by external forces trying to influence my behavior. I just do not want it to develop into something like I do not believe, my inner voice is your own or something like that." - OESB. "Debut vinyl full-length by Daly City, California based isolationist Thought Broadcast. The follow up T.B. album will be released this fall on Editions Mego. Limited edition of 400 copies - 12" black vinyl - heavy duty covers silkscreened by Monoroid." - OESB.

“Shuffling, hidden and subterranean electronics.
On “Social Acid” the musical element of TB is stripped away further and the underlying machinery shows through even more. This recording continues the dark hallucinations of classic noise and industrial to unparalleled heights of depersonalization.
The most remarkable thing about TB, and what comprises such a huge part of his sound, is the perfectly distorted and tape coated production. This is music that exists at the forefront of an underground lineage but still bears the fidelity of some of the earliest 80s tape experiments in the genre--wherein the difference between matter and sound became obscured.
The attitude expressed here could be considered post-punk in the sense of this being the inevitable end of where punk music would have lead in a perpetual urban dystopia. Once the final transformation takes place you can barely distinguish the dissonant echoes of guitar, vocals and everyday rhythms of rock n roll music.
It is a rare occasion that TB steps from the shadows, but when he does its always the work that does the speaking. "Social Acid" raises the standard even higher. In an edition of 100 copies on labelled, high-grade cobalt cassettes.” - Personnel.

2016 repress. Edition of 100. “Shuffling, hidden and subterranean electronics.
On “Social Acid” the musical element of TB is stripped away further and the underlying machinery shows through even more. This recording continues the dark hallucinations of classic noise and industrial to unparalleled heights of depersonalization.
The most remarkable thing about TB, and what comprises such a huge part of his sound, is the perfectly distorted and tape coated production. This is music that exists at the forefront of an underground lineage but still bears the fidelity of some of the earliest 80s tape experiments in the genre--wherein the difference between matter and sound became obscured.
The attitude expressed here could be considered post-punk in the sense of this being the inevitable end of where punk music would have lead in a perpetual urban dystopia. Once the final transformation takes place you can barely distinguish the dissonant echoes of guitar, vocals and everyday rhythms of rock n roll music.
It is a rare occasion that TB steps from the shadows, but when he does its always the work that does the speaking. "Social Acid" raises the standard even higher. In an edition of 100 copies on labelled, high-grade cobalt cassettes.” - Personnel (MARCO DEL RIO of RASPBERRY BULBS, BONE AWL, et als label)

Cassette Edition of 35; Handstamped, cobalt grade tapes; Art by Ravi Binning.
"Last copies anywhere, instantly sold out late December, 2012 release. In the cameras, down in the trains, out on the street, exploding anywhere." - Hierodule Ed.

"Four song 7" by Thought Broadcast. A schizo blend of atonal post-punk primitivism and partially submerged rhythm-box dub. A perfect mainline through TBs singular vein of primitive calculation. This 7" being the first vinyl release in the already rarefied TB discography. Letterpressed and die-cut sleeve with insert." - Phaserprone. This is some serious cryptic-style Vanity worship - could easily be lined up along side Pessimist, Unable Mirror, Kiiro Radical, Daily Expression, Plasma Music, Nose, Arbeit, etc.. on the V/A "Music" box set, which is definitely a good thing. Edition of 150 copies. LP on Olde English Spelling Bee soon.

"Formed in opposition to the media identity schizophrenia of the present,Thought Broadcast thrive upon the post-punk tactics of forgery and radical anonymity. Votive Zero is the second release on Editions Mego from this mysteriously coded American outfit. Emerging from the U.S. noise/punk background, Thought Broadcast further trace a unique path with nine carefully-considered obfuscations of rhythm and blurred takes on expressionism. Utilizing minimalist spaces, rhythmic repetition and material textures, Votive Zero navigates psycho-geometries while bathing in a lost, dubplate-style fidelity. Within this construction, past and present are unified as a hazily paranoid exploration of electronic musics nebulous grey zone. From the damaged mystery of "07/13/2013" to the smeared beats of "Carving a Vow" and Morse code mantra of "Runaway Signal," this ambiguous release treads a subtle and suspicious path where secrets once hidden are revealed on further, deeper listens. Votive Zero is a sustained journey through raw, hand-rendered minimal electronics which advance the cause and effect of Thought Broadcasts strategic occurrences. Mastered and cut at Dubplates & Mastering, March 2014. Artwork by Ravi Binning." - Editions Mego.

"Spirit Child is the debut LP from Inuk singer-songwriter Willie Thrasher. Thrasher was born in Aklavik, a hamlet located in the Inuvik region of the Northwest Territories, Canada, in 1948. At five years of age, Thrasher was taken from his family and sent to a residential school where he was forbidden to practice his Inuvialuit culture, a shameful initiative by the Canadian government to assimilate Indigenous people into mainstream society. Music was a way for Thrasher to escape the pain and longing. In the mid-1960s, Thrasher drummed for The Cordells, one of the first Inuit rock bands. One evening, a stranger recommended that the group tap into their Aboriginal roots instead of the charts for inspiration. This prompted Thrasher to take up the guitar and write songs about his life, people, and the environment. Despite losing a portion of his left middle finger in a work accident, Thrasher became a musical vagabond, travelling across Canada and the United States throughout the 1970s and well into the 1980s meeting many other First Nations, Métis, and Inuit musicians. Spirit Child was released by the Canadian Broadcasting Corporation (CBC) in 1981 and provided a further opportunity for Thrasher to reconnect with his Native heritage and share this love and understanding with people from other cultures. Silent Inuit became a northern hit for Thrasher, but with limited commercial support and little promotion outside of northern communities, the album eventually fell to the wayside. Today, Thrasher lives in the town of Nanaimo, B.C., where he performs as a city sanctioned busker with his partner Linda Saddleback. The global attention garnered by Light In The Attics Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 has led to recent performances at the Austin Psych Fest and Levitation Vancouver. Wherever he may be, Willie Thrasher is a trailblazing troubadour with an Indigenous heartbeat sound. Let Spirit Child open your ears, heart, and mind to a new folk-rock reality." - Future Days.

"This collection of 2002-04 recordings by the recently deceased Dunedin trio Three Forks is the first widely available disc to feature guitarist Donald McPherson since 2001s solo effort Bramble (metonymic), praised for its originality and McPhersons obvious mastery of guitar picking, His longstanding weekend duo with Sandoz Lab Technician Tim Cornelius was expanded early in 2002 to include James Currin, and although they didnt play out for over a year they setttled down to regular jamming and recording, initially concentrating on shortish improv power-trio jams, on guitar, drums and cello respectively. This first phase is represented here by two tracks, Ums and Ahs and Peru, with McPherson way out front on electric guitar, his extraordinary improvising imagination leading the group down a line somewhere between rock and a giddy free-jazz cuckoo-fest. By the time of their first shows in 2003, the balance had spread out with Currin and Cornelius contributing on a wide variety of instuments, and McPherson mainly on acoustic. In this year they recorded Baby Ives, released as one half (with Eye) of a lathe-cut 10", which veered wildly in mood between the hideous and the gorgeous, with vocals, radio and drum machine used in addition to the acoustic arsenal - it was a pointer towards the strange, rickety beast that is represented on the 03/04 recordings here. The opener Dust Tea is a quiet beauty, simple violin and cello framing McPhersons entrancing home-made-guitar plucks. Otaru Vision and Trimming The Verge drone and saw, playing elevation against irritation with strong noise elements, while Page 99 and Drunken Traffic achieve a level of melodic layering that is extraordinary for a purely improvising group. The last in particular, a complete 15-minute jam recorded live at Dunedins Community Gallery, points out where this groups head was at when they were at their best - a near-wallowing in melodic intensities that never caramelizes, and never, ever heads in the direction you expect it to. Indeed like this track, almost every track on Seven Layer Ape is a complete, unedited, un-fucked-with performance (only Otaru Vision is an excerpt) with just their fronts and ends tidied up; and while the Community Gallery recording is a little cavernous, replete with the sounds of car alarms, engines, and passing late-night-shoppers, the rest of the disc features exceptionally clear and present sound, unusual in a band mining this area of the improv universe. James Robinson, who drew the cover art, is known NZ-wide for his massive, completely insane graphomaniac canvases, and each cover is handscreened and partially hand-painted by Currin and Cornelius. Were very happy to be able to present this bands work and in particular to present another side of Donald McPhersons world-class guitar playing. This label got its start with his Liquified lathe LP (a recording of a 2001 gig), and both Cornelius and Currin contributed to that record; and so it is that our first real CD release should be this impressive and singular album." - United Fairy Moons.

"First wax in a while from this long running Lexington weirdo. Headwarp electronics create a meditative minimal techno vibe that drifts along in a sea of alien water. The stars alined in a night of garbage and color and this LP was born. Rattle your head...the sound will still be there." - Gods Of Tundra.

"Robert Beatty, who may be better known as a member of Hair Police, Eyes & Arms of Smoke and a contributor to Burning Star Core, has been creating some of his most interesting material under the name Three Legged Race. Living Order/Mourning Order is a reissue of a pair of releases from 2006, Living Order primarily focusing on micro-tonal shifts and movement and Mourning Order setting aside most (but not all) of the tones for composition. A lesson in the beauty of modern electronics. Edition of 335 with 3-color screen print and artwork by Robert Beatty." -Tone Filth

"Three Legged Race is the ongoing, ever-evolving project of Robert Beatty, a Lexington, Kentucky-based multi-media artist and founding member of noise band Hair Police. 2012 has been a busy year for Beatty, as hes provided his personal brand of visual art for countless excellent albums, and has also released new audio works (the outstanding Wrong Element 12" on Acoustic Division is essential). Persuasive Barrier is the debut full-length album from Three Legged Race, recorded over a period of five years. The album begins with "Traces of a Wet Crowd," creating a spacious and synthetic environment for the album to unfold upon with its rolling, cryptic vocal spray and high-frequency pulsing. "Traces" seamlessly collides with "Permethrin," a track which suspends the listener in juxtaposed clatter and wide open space. "Persuasive Barrier" plays like a lost Mort Garson theme accidentally found on Haruomi Hosonos soundtrack to the fictional film Cochin Moon. The lonely vocal passages and dream-like melody trails lead the listener down a very personal path, where the visual and audio aspects of Beattys world leave the artist exposed for your examination. Listen carefully, these moments are woven together in a complex way that warrants repeat visits to this special stasis. The flip of Barrier starts with the warm "Butter Colored Hallway," which hovers over the stereo field like a hot cloud, slowly moving and dripping micro details as it floats into "Locked Eyes," which is another wonderful and melodic passage. The album heads for the abstract and jagged ("Budgeting Air") before arriving at a complex bed of rhythms ("Permethrin II") where the album comes full circle. Persuasive Barrier sees Beatty organize many of his musical ideas and themes old and new into a fluid, flowing and comprehensive debut. Mastered by James Plotkin." -Spectrum Spools.

“Peoples are proud and excited to announce Three Legged Race’s “Rope Commercial, Vol. 1″ EP. The artist’s first release for UP and the first in a series of future releases, The EP serves as the follow up to Three Legged Race’s “Persuasive Barrier” LP in 2012.
Importantly, Rope Commercial Vol. 1 will be outfitted in a picture-disc of a classic Beatty vision. In a creamy neon-green urban landscape, the face of a humanoid figure is merged with a screen of a smartphone, its consciousness fused to the glass. Dangling from the phone is one leg outfitted in a woman’s heel, presumably its sole means of transport. These kind of pathetic cyborg figures in states of physical flux frequently appear in Beatty’s art. They function neatly as windows into Beatty’s music as well, with its electronically marred voices and barren sonic spaces. These figures are Beatty’s torpid avatars, in his music and art both, their humanism is strained by a confounding digital synergy.
Aptly, the picture-disc is a perfect setting for Beatty’s airbrush work, his favored rendering tool, and the general modus operandi of Beatty’s electronic music as Three Legged Race. In all, Beatty renews obsolete materials discarded from a voracious commercial culture, and employs them in strangely poignant contexts." - Underwater Peoples.

"Vitrine inaugurates 2015 with the second volume in the Rope Commercial series courtesy Kentucky-based artist, Robert Beatty. Since the early 2000s, Beatty has been a stalwart of the American underground. Hes expanded his palette in recent years with solo forays as Three Legged Race. Rope Commercial Vol. 2 finds Beatty venturing further beyond the pale, delivering two sides of sinkhole electronics straight out of a dusted Igloo LP or an anomalous 8” flexi of Kansai post-punk. Wordless distance is traveled in miniature. Throughout the fulgent diversity of the cassettes twenty minutes, Beatty exemplifies the unhurried poise of a master. Sound for the end of ozone. Preparations for the empty closet. Limited to 150 copies.” - Vitrine.
Rope Commercial Vol. 2 by Three Legged Race

"Vinyl edition of totally UNRELEASED material by THREE MAN ARMY, a band led by the famous ex GUN Gurvitz brothers. These recordings were initially meant for a proposed 2LP set of their third LP, but to reason unknown were shelved away and their third LP came as single album instead. Nine songs, clocking at 33 minutes now presented here for the first time ever on vinyl, are an absolute must-have for all HARD/PSYCH ROCK fans. Officially licensed from the GURVITZ brothers, coming in nice glossy sleeve." -G Music.

"Throbbing Gristles second full-length, originally released in 1978, captures alienation in its purest form. The line-up of Chris Carter, Peter Christopherson, Genesis P-Orridge and Cosey Fanni Tutti was a vehicle for everything bizarre, extreme and controversial. From the ravaged live track "Blood On The Floor" to the hostile phone recording on "Death Threats," TG lobotomized convention, whether musical or ideological. The lingering "Hamburger Lady" pulses with a story of a burn victim, and the bands restraint and careful composition makes it one of their best creations of all time, something absolutely terrifying. Full of tape-manipulation, computer noise and feedback, D.O.A epitomizes Throbbing Gristles unparalleled anti-music, cementing their status as "wreckers of civilization." Cover artwork has been painstakingly restored from the original source material. Part of the re-release of Throbbing Gristles first five albums on vinyl and CD. Each album has been restored and remastered specifically for each format by Chris Carter from 24bit "baked tape" digital transfers of the original first generation analogue master tapes. Each of the CD special-editions are presented in a gatefold sleeve featuring restored and remastered cover artwork and an integrated 8-page booklet (the booklets feature different artwork and content than the vinyl editions). Each CD special-edition also includes an exclusive bonus CD containing content from the year of the albums original release, including live tracks and remastered singles." -Industrial.

"Throbbing Gristles second full-length, originally released in 1978, captures alienation in its purest form. The line-up of Chris Carter, Peter Christopherson, Genesis P-Orridge and Cosey Fanni Tutti was a vehicle for everything bizarre, extreme and controversial. From the ravaged live track "Blood On The Floor" to the hostile phone recording on "Death Threats," TG lobotomized convention, whether musical or ideological. The lingering "Hamburger Lady" pulses with a story of a burn victim, and the bands restraint and careful composition makes it one of their best creations of all time, something absolutely terrifying. Full of tape-manipulation, computer noise and feedback, D.O.A epitomizes Throbbing Gristles unparalleled anti-music, cementing their status as "wreckers of civilization." The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band." - Industrial.

"Industrial Records Ltd. are pleased to announce the birth of GRISTLEISM, the newest member of the Throbbing Gristle family. Bastard offspring of now-famous ambient loop player the Buddha Machine, GRISTLEISM is part industrial sound machine, part noise instrument. Featuring 13 original and uncompromising loops, GRISTLEISM delivers a mix of signature TG experimental noise, industrial drone, and classic melodies and rhythms. Available in three colors -- black, chrome and red -- the palm-sized unit (size: w67mm x h69mm x d35mm) features a built-in speaker, volume control, pitch-shift control and loop selector switch. Note: GRISTLEISM does not feature an audio output socket or a DC power input socket. GRISTLEISM features more loops and almost twice the frequency range of the Buddha Machine. GRISTLEISM is powered by two AA batteries [not included] and is the worlds first and only portable TG aural exciter! GRISTLEISM was born from a collaboration between Industrial Records, Throbbing Gristle and Christiaan Virant (the creator of the original FM3 Buddha Machines) and is packaged in an exquisite "Chinese paper-cut" wrapping, featuring a repeating TG logo pattern, foil embossing and UV ink.
[As for color availability, Black is in stock now, to be followed by Red a week later and Chrome 2 weeks later -- so not all 3 will be available together upon first receipt.]" -Industrial

"Originally released in 1980, Heathen Earth is a crucial live document of industrial pioneers Throbbing Gristle. In member Chris Carters own words: "You had to have been there. Which is what we always say about TG. TG on record and TG live are two completely different things." This album is probably the closest approximation of the two youll ever get: its a "live in-studio recording" made in front of a small audience and the event was filmed by Monte Cazzaza with the intention of also releasing it on video. The majority of the set is instrumental, fluctuating between the raw electronics of their early work and the bands more melodic material. Tracks include a rework of early classic "After Cease To Exist" and Brion Gysin fave "Dreammachine." The bonus CD includes live recordings, plus the 7" single versions of "Subhuman" and "Adrenalin." Part of the re-release of Throbbing Gristles first five albums on vinyl and CD. Each album has been restored and remastered specifically for each format by Chris Carter from 24bit "baked tape" digital transfers of the original first generation analogue master tapes. Each of the CD special-editions are presented in a gatefold sleeve featuring restored and remastered cover artwork and an integrated 8-page booklet (the booklets feature different artwork and content than the vinyl editions). Each CD special-edition also includes an exclusive bonus CD containing content from the year of the albums original release, including live tracks and remastered singles." -Industrial

2015 repress. "Gatefold LP version. Originally released in 1980, Heathen Earth is a crucial live document of industrial pioneers Throbbing Gristle. In member Chris Carters own words: "You had to have been there. Which is what we always say about TG. TG on record and TG live are two completely different things." This album is probably the closest approximation of the two youll ever get: its a "live in-studio recording" made in front of a small audience and the event was filmed by Monte Cazzaza with the intention of also releasing it on video. The majority of the set is instrumental, fluctuating between the raw electronics of their early work and the bands more melodic material. Tracks include a rework of early classic "After Cease To Exist" and Brion Gysin fave "Dreammachine." The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band." - Industrial.

"TG + is the companion box set to the legendary TG24 box set which was recently issued. TG + contains the final 10 live Throbbing Gristle shows. All of the shows have been re-mastered personally by Chris Carter and are packaged in a hand made box similar to TG24 and the box set contains very special extra items." - Mute.

"The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. Includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band. Originally released in 1977, TGs Second Annual Report features various recordings of "Slug Bait" and "Maggot Death," plus the 20-minute soundtrack to After Cease To Exist, a short film featuring a castration sequence. A scathing debut from these avant-garde legends.." - Industrial.

"For the first time in 30 years, Throbbing Gristle are now back on their own original Industrial Records label. Industrial Records -- the sole representative of, and only official label representing and releasing records by the band -- present the re-release of TGs first five albums on vinyl and CD. Each album has been restored and remastered specifically for each format by Chris Carter from 24bit "baked tape" digital transfers of the original first generation analogue master tapes. Each of the CD special-editions are presented in a gatefold sleeve featuring restored and remastered cover artwork and an integrated 8-page booklet (the booklets feature different artwork and content than the vinyl editions). Each CD special-edition also includes an exclusive bonus CD containing content from the year of the albums original release, including live tracks and remastered singles. Originally released in 1977, TGs Second Annual Report features various recordings of "Slug Bait" and "Maggot Death," plus the 20-minute soundtrack to After Cease To Exist, a short film featuring a castration sequence. A scathing debut from these avant-garde legends. The bonus CD features additional live recordings from this period, plus the 7" single versions of "Zyklon B Zombie" and the strangely-accessible "United."" -Industrial

"Originally released in 1979, 20 Jazz Funk Greats is Throbbing Gristles pop-influenced masterwork. Its hard to believe the beautiful, conventionally-attractive Cosey Fanni Tutti on this albums front cover previously gave herself milk and blood enemas in front of a live audience. Additionally, the song "Hot On The Heels Of Love" is far removed from the dissonant nihilism of the previous TG albums. Its a sleek, minimal synth-pop song that foreshadows Tuttis later work as Chris & Cosey. Still, 20 Jazz Funk Greats is underpinned by a profound distance from accessibility. The breezy luminosity of "Persuasion" and "Six Six Sixties" is still marked with casual bits of distortion and absurdism. Preceding dark synth-pop (and everything else), TGs third album is far ahead of its time and still sounds as relevant as ever. The CD version includes a bonus CD of live recordings, including two versions of the manic classic, "Discipline." The 8-page full-color book includes visual ephemera and previously-unpublished photographs. Cover artwork has been painstakingly restored from the original source material." -Industrial

"Originally released in 1979, 20 Jazz Funk Greats is Throbbing Gristles pop-influenced masterwork. Its hard to believe the beautiful, conventionally-attractive Cosey Fanni Tutti on this albums front cover previously gave herself milk and blood enemas in front of a live audience. Additionally, the song "Hot On The Heels Of Love" is far removed from the dissonant nihilism of the previous TG albums. Its a sleek, minimal synth-pop song that foreshadows Tuttis later work as Chris & Cosey. Still, 20 Jazz Funk Greats is underpinned by a profound distance from accessibility. The breezy luminosity of "Persuasion" and "Six Six Sixties" is still marked with casual bits of distortion and absurdism. Preceding dark synth-pop (and everything else), TGs third album is far ahead of its time and still sounds as relevant as ever. The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band." -Industrial.

"Its impossible to deny Throbbing Gristles working methods and innovation are so deeply ingrained in the collective consciousness of... everything. TGs subversive dismantling of the apparatus of social control casts such a long shadow, and as impossible as it may seem, this collection actually provides an exceptional summation of their best work. The first real industrial group, the founders of Industrial Records and one of the most important electronic music innovators of all time, TG redefined music and laid a large part of the groundwork for all electronic music that followed. The CD version includes a bonus CD of live recordings, plus two previously unreleased mixes from the 1980s: "The Old Man Smiled (Alternative Mix)" and "AB/7A (Alt Mix)." The 8-page full-color book includes visual ephemera and previously-unpublished photographs. Cover artwork has been painstakingly restored from the original source material. Restored and remastered by Chris Carter from 24bit "baked tape" digital transfers of the original first generation analogue master tapes." -Industrial Records.

"Its impossible to deny Throbbing Gristles working methods and innovation are so deeply ingrained in the collective consciousness of... everything. TGs subversive dismantling of the apparatus of social control casts such a long shadow, and as impossible as it may seem, this collection actually provides an exceptional summation of their best work. The first real industrial group, the founders of Industrial Records and one of the most important electronic music innovators of all time, TG redefined music and laid a large part of the groundwork for all electronic music that followed. The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band." -Industrial.

"A live recording made in Paradox in Tilburg in October 2007. Over the past twenty years one of the bigger enigmas of industrial music or modern musique concrete has been THU20. They seldom record or play live, yet when they do, a lot of attention is placed on the detail. In the studio this leads to perfectly shaped sonic constructions, and in a live concert a detailled balance between the various interests of the five players involved. The computer work of Jos Smolders and Roel Meelkop, the acoustic sound objects of Peter Duimelinks and Frans de Waard and the analogue electronics of Jacques van Bussel. A small selection of live recordings by THU20 has been made avialable before, such as a split LP with Merzbow, and live recordings from Nancy. Tilburg fits that particular line of THU20 work. Various recordings were made, from the P.A. aswell as by the individual players, which were slightly edited by THU20. Cover by Meeuw." -Korm Plastics

"Much has been said about The Jewelled Antler Collective, the fertile womb from which Thuja emits its primordial ooze, and of Thuja itself. A loose-knit assembly of like-minded sound ecologists who study the connections between their immediate environment and the music created by its players, Jewelled Antler claims a multitude of music makers in its orbit - Blithe Sons, Skygreen Leopards, Franciscan Hobbies being just a mere cross-section. Thuja, however, remains one of the earliest and best-known incarnations. Steven R. Smith, Glenn Donaldson, Loren Chase, and Rob Reger coalesce interests in field recordings, found sound, experimentalism, folk and psychedelic rock (among others) to weave seriously detailed and immense journeys into pure sound. By incorporating real-time recordings of natural sounds from their particular surroundings, the four members of Thuja play off each other and the space they inhabit with impeccable instinct, succeeding in creating eerie yet strikingly melodic compositions. The end result is a total immersion of the senses, for both the player and the listener. Across the grand expanse of Pine Cone Temples two discs, implements such as piano, guitars, percussion, and well-placed contact mics are blended like pigments to conjure the subtlest of sonics, pulling every lost drop of their immediate universe into floating and buzzing cinematics. Minimalist hues are brush-stroked into being and slowly unfurl into the atmosphere. Improvised clouds of sound softly erupt to form compositions of such immense and precise detail, it would seem the music was written out rather than spontaneously developed. Such is the magic of Thuja and their uncanny ability to sculpt microscopic psychedelia from their immediate environment and collective consciousness." Strange Attractors Audio House.

"This is a limited edition of 500 copies on LP. Improvisational Bay Area quartet Thuja create aural landscapes that capture the reverberations of wood and wire, the sounds of breaking sticks and scraping stones, and the ambience of their surroundings into a shifting, dynamic musical framework. The members of Thuja play off each other and the space they inhabit with a natural instinct, succeeding in conjuring spectral compositions which are at once abstract yet inviting. For this self-titled release, their sixth full-length and first for Important Records, Thuja have assembled recordings from various live performance spaces (the Hemlock, the Oaklandish Gallery, Pehr Space, Kains Greenhouse) and have welcomed a variety of guests into the fold to help assist and expand their microscopic psychedelia toward a new plateau. After eight years, the semi-annual gathering of the members of Thuja is almost traditional, but new clearings are still to be discovered in its thickets of sound. This self-titled release is yet another essential artifact from Thujas ongoing explorations."- Important

"Coming from the same Minneapolis 60s scene which spawned bands like The Litter, Thundertree evolved from garage band The Good Idea. In 1970 they released their sole album for the Roulette label: a perfect example of the transition from psychedelia to hard-rock and early progressive sounds. Killer fuzzed-out guitar, organ, and powerful vocals. Including hard-psych classics like "In the Morning" and "Room at the Top of the Stairs" along with the monstrous 17-minute long "2025" suite. For this, the first-ever legit vinyl reissue of Thundertree, Guerssen has included two previously-unreleased tracks: "Pepper Palace" (a great psychedelic number) plus a storming cover of "Sixteen Tons," which was the signature song in Thundertrees live shows. Both tracks were recorded at UA Studios, Minneapolis, in 1970. Includes an insert with lot of pictures and bio notes by Billy Hallquist (Thundertree, Persephone Billy). 24-bit remastered sound." -Guerssen.

“Christina Marisa Calcagno and Thomas Stelter, who recorded as the Hamburg new wave duo Ti-Tho in the early- and mid-80s, met when Calcagno was 13 and Stelter was teaching guitar to her friend Oliver. Calcagno and Oliver were in a band called Tempelfreuden, together with Markus Lipka and Johan Pop; Stelter had been following the band and going to their gigs, and eventually asked Calcagno sing in a project he was working on. Calcagno agreed, and began playing keyboard, writing lyrics, and singing with Stelter. During their first rehearsal the duo didnt have any lyrics in mind, so Calcagno picked up Die große Überfahrt, a 1975 volume of the Asterixcomic book series, and improvised. The result was their first recorded track, "Asterix" (included here), with many crazy lyrics and compositions to follow. The music scene in Germany, and especially the rising neue Deutsche welle (NDW), was very open-minded, and received even the craziest projects with open ears. Ti-Tho wrote lyrics based on experiences of everyday life and combined elements of traditional, flamenco, and punk musics... Everything was possible, and nothing was off-limits. One of the duos very first fans and admirers was Alfred Hilsberg, who was running the highly influential ZickZack label and writing for Sounds magazine. He produced and released Ti-Thos first 7", Traumtänzer, in 1982, both sides of which are included here, and got them a deal with Polydor to release three more 7"s and one 12", plus compilation-contributions for Polydor and ZickZack -- most of these tracks are included here. An LP produced in 1985 by famous producer Tom Dokoupil (Siluetes 61, The Wirtschaftswunder, Die Radierer, Die Partei...) is still waiting for release at the time of this writing. Ti-Tho made several TV-appearances and even music videos in the early-to-mid-80s. They also produced a musical,Dodona, which was performed at the Planetarium Hamburg. Sadly, moving to a major label pushed them in a commercial direction and suppressed their wonderful simplicity and artistic freedom. The pairs interest in the project waned; Calcagno began concentrating on her art and Stelter moved to the countryside, producing tracks for Calcagno to sing over when she was ready, but, unfortunately, the reunion never happened.” - Vinyl-On-Demand.

“Heres a hard dose of amazing guitar driven heavy psych from New Zealands pride Ticket! Having served in several NZ 1960s bands like The Challenge, The Blues Revival or The Jamestown Union, members Paul Woolright (bass guitar, vocals), Eddie Hansen (lead guitar, vocals), Trevor Tombleson (lead vocals, percussion) and Ricky Ball (drums and percussion) got together as Ticket to perform an explosive electric mixture of bluesy psychedelic sounds under the influence of Hendrix, Cream, Traffic or Sly & The Family Stone, plus adding their very own touch and some funky rhythms in the same vein Atomic Rooster did in the era. Awake was the first of their two LPs, and it collected several songs that had been released as 45s during 1971, plus some extra material recorded specifically for the LP in 1972.
Eddie Hansen would relocate to Australia teaming up with another music legend, Harvey Mann. Ricky Ball became the back-beat of Hello Sailor. Paul Woolright would become part of the Pink Flamingos and Hello Sailor. Trevor Tombleson changed his name to Trevor Richards, went to England and played in the Keith Hartley Band.
Originally released in Down Under in 1972, the Wah Wah reissue will come housed in a quality glossy laminated, three backflaps sleeve reproducing the original artwork, amazingly remastered sound and an insert with photos and liner notes. Limited edition of only 500 copies.” - Wah Wah.

"Asmus Tietchens is a German electronic synthesist and musician whose interests in experimental music and musique concrète began during childhood. He began recording sound experiments in 1965 with electronic musical instruments, synthesizers, and tape loops. In the 1970s he met producer Okko Bekker, and the two formed a decades-long partnership. In 1980 Peter Baumann of Tangerine Dream heard a recording of Tietchenss music and offered to produce an album; the result was the 1980 release of Nachtstücke (BB 155CD/LP), which was followed by several releases on the legendary German label Sky Records between 1980 and 1983. At the same time, Tietchens also began releasing on several international cassette labels. He released Musik Aus Der Grauzone (1981) and Musik An Der Grenze (1982) on the British YHR Tapes (York House Recordings) and Musik Im Schatten (1982) and Musik Unter Tage (1983) on the American label Aeon. These four outstanding limited tape releases, now highly in-demand, are included in this five-CD set, an expanded reissue of a four-LP set released in 2007. The fifth CD, Musik Von Der Halde, contains additional audio material recorded during the 70s, including the two tracks included on a bonus 7" with a limited edition of the original vinyl release of 4K7. Except for the tracks from that 7", all of the material on Musik Von Der Halde is previously unreleased. While Tietchenss recordings from before 1984 (including the recordings found on this set) feature accessible synthesized music, his focus shifted to more abstract sound-collages, as can be heard on Formen Letzter Hausmusik, released in 1984 on Nurse With Wounds label United Dairies. This set chronicles the transitional phase between the poppy Sky releases and the more noise-based style of releases like Formen Letzter Hausmusik. Tietchens later pursued "absolute music" through an almost mathematical process of rigid formal exercises. With strong ties to Karlheinz Stockhausens early electronic work, Tietchens started specializing in irregular patterns of sonic abstractions suspended in gray drones to create cold textural space, void of external reference." - Vinyl-On-Demand.

"The 4LP box set contains his first 4 tapeworks from the mid/late 70s, released in the early 80s on Yorkhouserecords (YHR) in limited editions of 50 (Musik an der Grenze, Musik im Schatten, Musik unter Tage and Musik aus der Grauzone)." - Vinyl-On-Demand. Very highly recommended!

"First in a series of 18 CDs aiming to make available all early vinyl albums by Asmus Tietchens between 1980-1991 on CD. Each release feat. the original tracks (sometimes extended/original versions) + unreleased bonus tracks from the same recording period, original artwork + accompanying texts by Tietchens. This -- the only 2CD in the series -- feat. his very first album Nachtstücke from 1980 (incl. 4 bonus tracks) + a 2nd CD with archive material recorded with his long time friend Okko Bekker between 1965-1969. These are the first works in Tietchens long career as a sound artist and were never released before. Edition of 1000 copies in jewelcase with full color poster booklet. About the artist: Asmus Tietchens started recording music as early as 1965 (documented here on Adventures In Sound) though his first release only appeared 15 years later (Nachtstücke). Ever since then he stayed very productive and had numerous cassette, vinyl and CD releases on numerous labels (Sky, United Dairies, Dom, Staalplaat, Ritornell and Die Stadt to name just a few). He has collaborated with various other like minded artists such as Okko Bekker, Cluster, Conny Plank, Terry Burrows, Liquidski, David Lee Myers (Arcane Device) and most recently with Thomas Köner who is one half of their ongoing collaborational project Kontakt Der Jünglinge." -Die Stadt

"Eleventh part in the ongoing re-release series of all early Tietchens albums between 1980-1991. Aus Freude Am Elend is based on the human voice as a primary sound source and was originally released in an edition of 500 copies on Dom America in 1988. The CD includes two previously-unreleased tracks and comes in a jewel case with full color artwork and poster booklet also featuring the original front and back cover. First edition of 600 copies. "Following my research of piano and water sounds, it didnt come as a surprise that my next project was about the human voice as a sound source. The great masters of Plunderphonics already showed the way in the early 80s, when they plundered the gigantic junk-shops packed full of already recorded material, which was stolen by them to use it for their own aesthetic targets. This album only consists of such stolen goods. Each track (with the exception of In Memoriam P.F.) was based on voices of people who I naturally didnt ask their permission to use these recordings in the first place. So you can hear the voices of ecstatic religious people as well as other people making love. Youll also hear someone singing to Annette and Peggy out of the trash bin of a publishing company. Even the screams of furious teachers came in handy while I made loops from them. Especially loops: rarely before this album and only once after it did I made use of the structural means of loops to such an extent. I was fascinated by the rhythmical and harmonic permanence, in the same way as many of my musical colleagues at the time. The aspect of the ritual was a self-evident common formulation in difficult music during the 80s, so loops and tape voices, monotonous rhythms and LoFi became obvious means to shape the music. Aus Freude Am Elend too was strongly spiced with these ingredients and therefore can be seen as a prototype album of this specific view of music during the time. This tendency was supported -- even partly inspired -- by a new generation of sound machines, which also made it possible for new aesthetic goals to appear at the horizon. The 90s were near at hand and sound art music would develop drastically in many ways in the years to follow. Samplers, digital editing, hard-disc recording and the first PCs opened new doorways. Half of the material on Aus Freude Am Elend was already created with these digital tools. I never quite understood how the labels Dom America (run by Jon Carlson) and Dom here in Germany were connected. Was Carlson a fan of Dom which was founded by Christoph Heemann and Achim Flaam? Did he simply like the release politics of this label? And what became of Dom America? Actually I dont know. I guess it was one of the small enthusiastic independent labels which released a handful of titles and which disappeared after being active for a couple of years during the 80s. However ,Aus Freude Am Elend had vanished shortly after its release. I only used stolen voices twice again after this album, by the way." -Die Stadt

"In retrospect, we might suspect that Asmus Tietchens was deliberately leading us up the garden path with the discordant pseudo-pop of his early musical productions. Four albums between 1981-1983 and a handful of individual pieces comprise the Zeitzeichen (time signal) phase which, in the words of their creator, was characterized by the implementation of rhythmic-harmonic set pieces and gaudy record sleeves. These albums do indeed feature elements of the noisy-abstract structures which Tietchens would be in a position to release from 1984 onwards in a more industrial setting, figuring prominently in his main body of work. Yet to understand Zeitzeichen as a period of transition, a mere curiosity, would be wide of the mark. Günter Körber released the Biotop, Spät-Europa, In die Nacht, and Litia albums on Sky Records. His label specialized in contemporary electronic music, often cosmic or Kraut-like, but also offered a platform to un-agitated cryptic experiments. Tietchens was well-acquainted with the Sky program, both as a listener and through personal friendships -- with Dieter Moebius, Hans-Joachim Roedelius, andMichael Rother; hence, establishing contact presented little difficulty. Sixteen tracks had been produced for Biotop but, in 1980, saw no genuine prospect of a release, so signing to Sky was a logical move. The Sky series is markedly different, surprisingly so, from the debut album Nachtstücke, rife with soft rhythms and harmonic bliss, as Tietchens acknowledges today. Not something which can be said of Biotop. In keeping with the sleeves garish color scheme, derision, idle pathos and dissonance in abundance are flung sardonically at the expectations of pop. But there was more than ironic intent in the disjointed rhythms and sliding melodies. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music. Biotop is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. The hectic piece Moderne Arroganz is notable for a voice listing types of insurance; from behind this unbeatable idiocy, a critical reflex emerges which can be taken as social commentary -- it is no coincidence that Sauberland resounds with squeaky absurdity, taking itself none too seriously. One would not be wrong, therefore, to divine the artist finding himself in the banefully-piercing title-track, which rejects the alleged harmlessness of the album, a contrary Im here too, attenuated only by the remark lets see how things go. But Tietchens half hoping, half skeptical stance -- underlined as an endless groove on the initial pressing -- proved unfounded." - Bureau B

"Comes on 180 gram vinyl. In retrospect, we might suspect that Asmus Tietchens was deliberately leading us up the garden path with the discordant pseudo-pop of his early musical productions. Four albums between 1981-1983 and a handful of individual pieces comprise the "Zeitzeichen" (time signal) phase which, in the words of their creator, was characterized by the implementation of "rhythmic-harmonic set pieces and gaudy record sleeves." These albums do indeed feature elements of the noisy-abstract structures which Tietchens would be in a position to release from 1984 onwards in a more industrial setting, figuring prominently in his main body of work. Yet to understand "Zeitzeichen" as a period of transition, a mere curiosity, would be wide of the mark. Günter Körber released the Biotop, Spät-Europa, In die Nacht, and Litia albums on Sky Records. His label specialized in contemporary electronic music, often cosmic or Kraut-like, but also offered a platform to un-agitated cryptic experiments. Tietchens was well-acquainted with the Sky program, both as a listener and through personal friendships -- with Dieter Moebius, Hans-Joachim Roedelius, and Michael Rother; hence, establishing contact presented little difficulty. Sixteen tracks had been produced for Biotop but, in 1980, saw no genuine prospect of a release, so signing to Sky was a logical move. The Sky series is markedly different, surprisingly so, from the debut album Nachtstücke, rife with "soft rhythms and harmonic bliss," as Tietchens acknowledges today. Not something which can be said of Biotop. In keeping with the sleeves garish color scheme, derision, idle pathos and dissonance in abundance are flung sardonically at the expectations of pop. But there was more than ironic intent in the disjointed rhythms and sliding melodies. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music. Biotop is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. The hectic piece "Moderne Arroganz" is notable for a voice listing types of insurance; from behind this "unbeatable idiocy," a critical reflex emerges which can be taken as social commentary -- it is no coincidence that "Sauberland" resounds with squeaky absurdity, taking itself none too seriously. One would not be wrong, therefore, to divine the artist finding himself in the banefully-piercing title-track, which rejects the alleged harmlessness of the album, a contrary "Im here too," attenuated only by the remark "lets see how things go." But Tietchens half hoping, half skeptical stance -- underlined as an endless groove on the initial pressing -- proved unfounded." -Bureau B.

"Pressed on 180 gram vinyl. Between 1981 and 1983 Asmus Tietchens released four albums on the Sky Records label, fusing rhythmic set pieces and off-kilter sounds into gaudy escapades of saccharine artificiality. The "pseudo-pop" epithet reflected their frequently ironic air. All four records have been reissued by Bureau B in their original form. What remained may be found on this collection. Der fünfte Himmel ("The Fifth Sky") retrieves those pieces which were denied a place on the original LPs, although clearly cut from the same contextual cloth. Quality control was not behind their relegation to the archive, but rather their eccentric and, at times, outlandish character. "Futurum drei" is patently a bridge to Tietchens debut album Nachtstücke, recorded back in 1978, while "Soirée" and "Zum Tee bei Frau Hilde" were originally -- in a completely different guise -- designed to form the basis of the Experimentelle Geselligkeit album, ultimately shelved. The titles themselves are interesting: "Würgstoffe" ("Wirkstoffe") and "Niedermacher" ("Liedermacher") are further evidence of Tietchens penchant for wordplay, even though the composer today admits that these rather corny jokes no longer seem quite so witty. In addition to this promenade through the outskirts of the "Zeitzeichen phase" (or "Sky phase"), Der fünfte Himmel includes tracks which could have constituted a further album on Sky Records. Tietchens was working ahead of himself as his contract covered just four albums and sales were in sharp decline. Moreover, his musical direction had shifted to accommodate a far less rugged sound and a broader range of musical tools. If these pieces share a link to the strategies of previous works, it is a tenuous one. This would probably have been enough in itself to preclude a continuation of the series, as the material veered so far away from the Sky label line." - Bureau B.

"Black Rose Recordings are proud to present the exceptional new album by Asmus Tietchens. Corrosion is a degradation mechanism. It is an insidious process often difficult to recognize until deterioration is well advanced. Are these new pieces a comment on the current state of noise music, serious music, or both? As a pioneer of electronic composition, his work spans over three decades and doesnt fit easily into any one category. Early recordings ranged from experiments with tape machines and electronic sound through to experimental pop. Later works were a more sculptural blend of abstract microelectronics, industrial sounds, and musique concrète. Never straightforward or obvious, always unpredictable and innovative, his groundbreaking music influences many working in todays experimental music scene. He has worked almost exclusively as a solo artist but recent releases have seen him collaborate with well-known and diverse artists such as Dieter Moebius (Cluster & Harmonia), Thomas Köner, and Richard Chartier." - Black Rose.

"Part six in the ongoing re-release series of all early Tietchens albums on CD. Formen Letzter Hausmusik was originally released on United Dairies (the label run by Steven Stapleton of Nurse With Wound) in 1984. The original album consisted of a mix of archive tracks from the late 1960s / early 1970s and new tracks specially recorded for the release. Many people see Formen Letzter Hausmusik as the first real Tietchens album laying the basis of what was about to follow in his long recording career and therefore vote this album among the most important and best Tietchens works. The CD version includes three unreleased bonus tracks and comes with the usual poster booklet featuring the original cover art plus text by Tietchens about the album." - Die Stadt.

Fourth part in the re-release series of all early vinyl albums by Asmus Tietchens on CD. This is the third of the SKY albums from 1982 incl. three bonus tracks of unreleased material not included on the original LP. "I found myself trying to square the circle, wanting to have the rich detail of my short works at the same time as creating longer pieces. This experiment, an equivalent to doing the splits, was only partly successful. It is not really possible to create pieces of six minutes or more from ideas which are only adequate for tracks of three minutes, unless one is willing to risk musical redundancy or, worse, long-windedness. In retrospect, the four central tracks of In die Nacht are too long for the material from which the are built. Back in 1982 though, my opinion was different. Nonetheless, I did gain my first insight into the rules of time and proportion, even though I was not able to handle them perfectly." -Asmus Tietchens, 2004

"180 gram vinyl. Bureau B reissues Asmus Tietchens third solo album on Sky Records, originally released in 1982. It stands to reason that any musical journey undertaken by a skeptic like Asmus Tietchens is destined to head into the night (In die Nacht) rather than into the day. In die Nacht, the third album in the so-called time signal ("Zeitzeichen") phase, continuing in the same vein as Biotop (BB 141CD/LP) and Spät-Europa (BB 142CD/LP), while laying down its own stylistic markers, no doubt attributable to the sizeable challenges facing the composer. Time, or the lack thereof, was the most pressing concern. With only a few weeks available in which to produce the record, he had to rein in his ambition. In the past, Tietchens had seldom allowed tracks to exceed three minutes in length, avoiding the effect of "musical drift"; hence, the ideas came thick and fast on his previous two albums. This time around, in creative terms -- and with all due meticulousness -- he needed to be more economical. Four of the tracks turned out far wider-ranging than they might have done under different circumstances. Ironically, these are the very pieces which lend the album its enduring character. The exuberantly stumbling rhythm of "Höhepunkt kleiner Mann" is as typical as the dark mood of the title-track, although jaunty and highly-charged tones creep into the latter. "Regenwald," on the other hand, carries the listener off to a magical sonic setting, a hypnotic allure underneath pulsating rhythms. Such a display of color is akin to the atmosphere of Max Ernsts jungle paintings. In technical terms, In die Nacht differed notably from its predecessors as Tietchens now had access to a Polymoog, enabling him to play chords. The Minimoog and rhythm machine he had used until then were deliberately pushed into the background; the drum machine in particular was drastically taken out of the mix. The creative versatility of this relatively modest equipment still appears remarkable today." -Bureau B.

"Bureau B reissues Asmus Tietchens third solo album on Sky Records, originally released in 1982. It stands to reason that any musical journey undertaken by a skeptic like Asmus Tietchens is destined to head into the night (In die Nacht) rather than into the day. In die Nacht, the third album in the so-called time signal ("Zeitzeichen") phase, continuing in the same vein as Biotop (BB 141CD/LP) and Spät-Europa (BB 142CD/LP), while laying down its own stylistic markers, no doubt attributable to the sizeable challenges facing the composer. Time, or the lack thereof, was the most pressing concern. With only a few weeks available in which to produce the record, he had to rein in his ambition. In the past, Tietchens had seldom allowed tracks to exceed three minutes in length, avoiding the effect of "musical drift"; hence, the ideas came thick and fast on his previous two albums. This time around, in creative terms -- and with all due meticulousness -- he needed to be more economical. Four of the tracks turned out far wider-ranging than they might have done under different circumstances. Ironically, these are the very pieces which lend the album its enduring character. The exuberantly stumbling rhythm of "Höhepunkt kleiner Mann" is as typical as the dark mood of the title-track, although jaunty and highly-charged tones creep into the latter. "Regenwald," on the other hand, carries the listener off to a magical sonic setting, a hypnotic allure underneath pulsating rhythms. Such a display of color is akin to the atmosphere of Max Ernsts jungle paintings. In technical terms, In die Nacht differed notably from its predecessors as Tietchens now had access to a Polymoog, enabling him to play chords. The Minimoog and rhythm machine he had used until then were deliberately pushed into the background; the drum machine in particular was drastically taken out of the mix. The creative versatility of this relatively modest equipment still appears remarkable today." - Bureau B

"This new release features two rhythmic tracks that were recorded during the Teilmengen sessions (which appeared on CD as a-Menge and b-Menge on Ritornell) but were not used for these albums as Tietchens regarded them as too different to the other pieces and therefore decided to have them released on their own. Limited edition of 500 copies." -Die Stadt

"LP version, on 180 gram vinyl. Released in 1983, the Litia album concluded Asmus Tietchens études phase and bid a farewell to rhythmic synths -- well, almost. All the signs of "pseudo pop" as heard on Biotop (BB 141CD/LP), Spät-Europa (BB 142CD/LP), and In die Nacht resurfaced: squeaky sounds and protracted, rattling rhythms grouped into abstract forms through their accentuated artificiality. Sporadic noisiness is as much a part of it as is a winking gesture, which should not detract from the basic sobriety of the work, however. Musik aus dem Aroma Club (1998) is Tietchens first openly-parodic work, not that he had ever lacked humor. Take the plays on words in his titles, with "Unterhaltungsmusik" mutating to "Unterhaltsmusik" ("light" music becomes "livelihood" music) or the appropriation of terminology from respiratory medicine ("Nebulizer" is another word for an atomizer). The banality of everyday life proves itself to be unconquerable: "Auf Elf" ("On Eleven") refers to the fact that the piece is archived on a tape with the number 11 -- nothing more profound than that. What sets Litia apart from its three predecessors is the wider pool of instruments at Tietchens disposal. For the first time, he had a digital rhythm machine which could play samples; then there was the Korg Polysix synthesizer, a hybrid of analog and digital technology. The polyphonic transition piece could not actually create samples, but could at least simulate the sounds of instruments. As the Korg Polysix and rhythm machine could be synchronized, "a whole new world of sound" beckoned. Günter Körber of Sky Records exited the scene after Litia, as Tietchens turned his attention to "rhythmic-harmonic set pieces." It was not until 1996 that Rattenheu was issued, featuring material which dated back to 1984 and now -- augmented by further tracks from this period -- representing the fifth "Zeitzeichen" album to be reissued by Bureau B." - Bureau B.

"Released in 1983, the Litia album concluded Asmus Tietchens études phase and bid a farewell to rhythmic synths -- well, almost. All the signs of "pseudo pop" as heard on Biotop (BB 141CD/LP), Spät-Europa (BB 142CD/LP), and In die Nacht resurfaced: squeaky sounds and protracted, rattling rhythms grouped into abstract forms through their accentuated artificiality. Sporadic noisiness is as much a part of it as is a winking gesture, which should not detract from the basic sobriety of the work, however. Musik aus dem Aroma Club (1998) is Tietchens first openly-parodic work, not that he had ever lacked humor. Take the plays on words in his titles, with "Unterhaltungsmusik" mutating to "Unterhaltsmusik" ("light" music becomes "livelihood" music) or the appropriation of terminology from respiratory medicine ("Nebulizer" is another word for an atomizer). The banality of everyday life proves itself to be unconquerable: "Auf Elf" ("On Eleven") refers to the fact that the piece is archived on a tape with the number 11 -- nothing more profound than that. What sets Litia apart from its three predecessors is the wider pool of instruments at Tietchens disposal. For the first time, he had a digital rhythm machine which could play samples; then there was the Korg Polysix synthesizer, a hybrid of analog and digital technology. The polyphonic transition piece could not actually create samples, but could at least simulate the sounds of instruments. As the Korg Polysix and rhythm machine could be synchronized, "a whole new world of sound" beckoned. Günter Körber of Sky Records exited the scene after Litia, as Tietchens turned his attention to "rhythmic-harmonic set pieces." It was not until 1996 that Rattenheu was issued, featuring material which dated back to 1984 and now -- augmented by further tracks from this period -- representing the fifth "Zeitzeichen" album to be reissued by Bureau B." - Bureau B

"Pressed on 180 gram vinyl. Nachtstücke owed its publication to former Tangerine Dream member Peter Baumann, who was asked by the French label Barclay/EGG to produce three albums focusing specifically on German electronic music. He was working with Hans-Joachim Roedelius at the time, who had been given a few Tietchens tracks on cassette. When Baumann heard Roedelius play them in the studio during a break in proceedings, they sparked his interest and he met up with Tietchens some time later; they agreed that he would go over the material again and edit or abridge it in places. A release date was penciled in for the latter part of 1978. The commissioning label, however, doubting the commercial potential of the project (Tietchens: "How right they would turn out to be"), postponed the release and had to be reminded of contractual commitments on more than one occasion. When the Nachtstücke LP finally appeared, almost two years later, it bore the unauthorized subheading "Expressions et Perspectives Sonores Intemporelles," and featured a completely different cover. Originally, the album was to depict a leathery embryo with a laser beam shooting through its eye (Tietchens: "I liked the idea of starting with something so gruesome"), but now three blurred figures danced on the sleeve: "I was pretty disgusted when I opened the package containing my copies," Tietchens reports, taking the re-release as his cue to create completely new artwork. Nachtstücke has surprisingly little in common with the pseudo-pop of the ensuing Sky Phase, but shines a light further ahead to the gloomy, spectral aspects of Tietchens later works. Created between 1975 and 1978, the Nachtstücke pieces reveal a deliberate approach, avoiding dissonance and discord wherever possible. Still, the release saw the album "fall right out of time" as Tietchens frankly admits: "Gentle rhythm and harmonic beatitude did not suit the concert of advanced pop music as it was then being played." Nevertheless, the Nachtstücke tracks remain important to the artist, as they document his early encounters with the Moog Sonic Six and Minimoog. With this in mind, the material is presented here in its original, unadulterated form." - Bureau B.

"Tenth part in the ongoing re-release series of all early Tietchens albums between 1980-1991. Notturno was originally released by Spanish label Discos Esplendor Geometrico in 1987 and also by Barooni on CD in 1992. Remastered version in a first edition of 600 copies in jewel case with full color artwork and poster booklet also featuring the original front and back cover. By the time Studie für Klavier (Formen Letzter Hausmusik, DS84) was released, it actually wasnt my first attempt to use the piano as a sound source. Various pre-studies came before this, but all which either were not characterized as such in their title or simply didnt make it onto record. I was intrigued by the great range of sounds it offers in general, but also by the multiple possibilities to produce sounds inside of the piano. Of course I was fully aware that these techniques had already been used by other composers like Henry Cowell and John Cage in the past. Not only could I make use of a grand piano in 1986, I also had the technical equipment at hand which didnt leave nothing to be desired. I wasnt quite precise calling these pieces Studien für Klavier (Piano) by the way, as I was actually using a flügel (grand piano). I began preparing the strings in an almost old fashioned way, also producing sounds with unusual aids (electric gastr beater, wire brush, coins and others). Then in another step, with the help of the studio, I carefully started working on the recorded sounds. While doing this, I wasnt even afraid of using some good old avant-garde tricks, by the way. But I wont tell. The fact that Notturno was released by an industrial label, shows how much the interest in unusual electro-acoustic music had grown at the time. In fact, Notturno is nothing less than an industrial album. To my own delight and to the delight of the listeners as well, I used techniques which were introduced in the field of new music since several years already. As a result, Notturno can be seen as a cross between musical styles. On one hand it sounds academic, but in fact it isnt. But the question whether this was U (popular) or E (serious) was obsolete anyway, as electro-acoustic experiments didnt exclusively belong to the circle of serious composers anymore. Of course I wasnt the first or only non-academic composer who produced music, which couldnt be categorized easily then, and maybe even still not until today. As a result, the exchange of these new aesthetic strategies with other musicians and listeners in the mid-80s, further encouraged the musicians to produce such music, and as a result, labels such as Discos Esplendor Geometrico could be sure to sell a small edition of 500 copies in a fairly short time. The ears had opened up for this genre-crossing music and the heads were ready to accept. We had succeeded breaking new ground." -Die Stadt

"Seventh part in the re-release series of all early Tietchens albums between 1980-1991. Another early Tietchens classic, the first where he only used a single sound source as the basis for a complete album. Originally released on A-Mission in 1985 the CD version includes one bonus track. Full colour fold-out booklet featuring the original cover artwork plus liner notes by Tietchens." - Die Stadt.

"While Asmus Tietchens planned to head off into the future (In die Zukunft) with Biotop (1981), Spät-Europa witnesses his arrival. Released on Sky Records in 1982, the second album in the Zeitzeichen phase not only continued in the style of its predecessor, it managed to refine it a little more precisely. Spät-Europa also conveys a banefully distorted pseudo-pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue-in-cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon-colored pieces, indicative of the artists parallel lines of development. What is new on Spät-Europa is a greater concentration of form, concise and pointed in the sense of musical economy. Tietchens sought to accentuate this aspect even more acutely, but lacked the technical means to ensure that each of the miniatures lasted exactly two minutes. Nevertheless, he only missed his ideal target by a few seconds here and there. The concept of Biotop as an album of 20 tracks two minutes long recalls the Residents Commercial Album (1980) which contains 40 tracks, each a minute in length -- although these were designed to be played in groups of three in order to create a regular pop song. Tietchens does not go that far, but he shares the musical, metatextual and humorous sensibilities of the American band, having organized crusades for their albums at this time. Traces of their influence may be discernible, but Tietchens has placed them in an entirely new context. Like Biotop, Spät-Europa finishes with an emphatically unwieldy piece, the artist passing comment on himself perhaps. Epitaph introduces a shrill warning tone, joined by nerve-shattering, serrating sounds and ominous screams; piano tones subsequently soften the impact as quiet approaches. But the headstone etched in readiness to mark his musical career proved unnecessary -- before the year was out, Günter Körber had requested a further album for his Sky label. This would be the opus entitled In die Nacht." - Bureau B

"Comes on 180 gram vinyl. While Asmus Tietchens planned to head off "into the future" ("In die Zukunft") with Biotop (1981), Spät-Europa witnesses his arrival. Released on Sky Records in 1982, the second album in the "Zeitzeichen" phase not only continued in the style of its predecessor, it managed to refine it a little more precisely. Spät-Europa also conveys a banefully distorted pseudo-pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue-in-cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon-colored pieces, indicative of the artists parallel lines of development. What is new on Spät-Europa is a greater concentration of form, concise and pointed in the sense of musical economy. Tietchens sought to accentuate this aspect even more acutely, but lacked the technical means to ensure that each of the "miniatures" lasted exactly two minutes. Nevertheless, he only missed his ideal target by a few seconds here and there. The concept of Biotop as an album of 20 tracks two minutes long recalls the Residents Commercial Album (1980) which contains 40 tracks, each a minute in length -- although these were designed to be played in groups of three in order to create a regular "pop song." Tietchens does not go that far, but he shares the musical, metatextual and humorous sensibilities of the American band, having "organized crusades" for their albums at this time. Traces of their influence may be discernible, but Tietchens has placed them in an entirely new context. Like Biotop, Spät-Europa finishes with an emphatically unwieldy piece, the artist passing comment on himself perhaps. "Epitaph" introduces a shrill warning tone, joined by nerve-shattering, serrating sounds and ominous screams; piano tones subsequently soften the impact as quiet approaches. But the headstone etched in readiness to mark his musical career proved unnecessary -- before the year was out, Günter Körber had requested a further album for his Sky label. This would be the opus entitled In die Nacht." -Bureau B.

"Ive been a fan of Asmus Tietchens music since Formen Letzter Hausmusik came out in 1984. That LP fascinated me and I soon began acquiring anything I could by this strange musical force. Ive learned a lot from his music over the years and we became acquainted via the post in the late 90s. As it turns out, we both have an extreme fondness for cigarette smoking and an interest in Max Nordau, so what better place for his first LP release in years than Swill Radio? The side-long Teilmenge 20 starts off the LP with an odd manic ticking that never lets up. Other sounds ebb and flow throughout and the whole piece has the rare quality of sounding totally artificial and yet organic at the same time. The second side slows things down with three tracks of dripping industrial ambience. The whole LP brings to my mind an atmosphere of waiting. To quote my good friend Matt Krefting, No ones music sounds both as cold and as emotional in quite the same way as the music of Asmus Tietchens." -Swill Radio.

"Part 9 of the ongoing re-release series of all early Tietchens albums from 1980-1991 on CD. This combines two separate releases from 1987 (Zwingburgen des Hedonismus) and 1988 (Mysterien des Hafens on Face to Face, Vol. 1). Zwingburgen des Hedonismus was originally released as a one-sided LP on Swedish label Multimood and features a single 21-min. long track composed on a Fairlight CMI. Mysterien des Hafens was part of a split LP (the other side feat. Die Form) originally released on French label Odd Size and featuring recordings made by Tietchens using underwater microphones. The bonus track Faircomp 1K on this CD is a different version of the first track and previously unreleased. First edition of 600 copies in jewel case with full cover artwork and poster booklet also feat. the original album covers." -Die Stadt

"Limited edition split 12" curated by Kouhei Matsunaga. Side A features two new tracks from the legendary German sound artist Asmus Tietchens. Side B features two new pieces from Kouhei Matsunaga. 500 copies. First 100 copies are on color vinyl. Important released some highly praised records with Kouhei Matsunaga including a collaborative CD with Sean Booth (Autechre) and Mika Vainio (Pan Sonic), a split LP with Mika Vainio and a full length CD of his own solo work. The breath and quality of Kouheis work was apparent across these three releases and his compositions for this split LP serve to create connections between his beat based work and his more abstract soundscapes. Kouheis most recent solo work was just released by Skam. Asmus Tietchens contributions to contemporary electronic music is immense. The two pieces making up his side of the record have been sculpted from stochastic sequences of pure sine waves as well as guitar samples given to him by Dirk Serries (Fear Falls Burning) not for the purpose of collaboration but for processing purposes. Sonic events orchestrated by a sonic master." - Important.

“Helios is typically credited for our solar well-being, but lets not forget that his four horses have been the ones doing the heavy lifting day in and day out all these years…
They must have bailed on the bossman somewhere above Connecticut because on September 9, 2013 in New Haven it was not Pyrois, Aeos, Aethon, and Phlegon but Tiger Hatchery (Ben Baker Billington, Mike Forbes, Andrew Scott Young) and Paul Flaherty who brought the heat. Neither party is any stranger to fire music: after cutting their teeth in Texas and Cleveland like so many other purveyors of the ecstatic now Tiger Hatchery congealed in Chicago and their blistering take on free jazz earned them a recent entry in the venerable ESP-Diskography; Paul Flaherty needs little introduction having lent his biting reed attack to countless outfits since his 1978 debut, among them mind melds with Chris Corsano, Thurston Moore, C Spencer Yeh, and Bill Nace.
Live In New Haven documents both entities convulsing as one, with Forbes and Flahertys labyrinthine saxophone mutations squirming against the brink of the Billington-Young skins n strings throb unit. Yet despite the volcanic nature of the session, the quartet exhibits a sage capacity for both restraint and an elevated plane of almost-composed melodicism unheard in Tiger Hatcherys corpus of abandon as a trio.
LP edition of 300, with front and back cover art by Graham Lambkin. Ships mid-October.” - Ergot.

"Like all the great visionary thinkers of our time, from Iggy Stooge to Arthur Doyle, David Keenan and Alex Neilson are autodidactic polymaths devolving advanced thought back to punk-primitive motion. Judging by the music heard on Vanishing Fist, their first salvo under the name Tight Meat Duo, these twentysomething/thirtysomething Glaswegian deviants are prime examples of the dictum that the new wave of free musicians act on impulse. Theyve studied and immersed themselves in some of the most life affirming vibrations of all time, those silhouettes, shadows and forecasts of tomorrow disguised as free jazz, as Sun Ra almost put it; sensed this essence flooding their synapses, rewiring their DNA, messing with the id so inherited 3D vision becomes implanted Third Eye cosmology; and now theyre getting in on the aktion. Mini gatefold LP sleeve." -Bo Weavil.

"The Just Reproach documents the second concert given by John Tilbury and Oren Ambarchi as a duo. When they first performed together in Reykjavik, Iceland in March 2012, the aptness of the pairing was evident. When they reprised the duo at Londons Cafe OTO in September the same year in the concert presented here, the city was in the midst of a heatwave. With the air-conditioning turned off to accommodate the low volume of the performance, the uncomfortable squirming of the audience members in their sweaty chairs becomes, alongside the occasional dropped glass and cough, an additional sonic element in the duos performance, providing a randomized accompaniment to the duos careful exploration of tonal and textural minutiae. As always, Tilbury displays a remarkable sensitivity and inquisitiveness, investigating the unique character of specific harmonic intervals through iteration and slight variation in a way that displays the same remarkable care for the individual sonic event that he found many years ago in Weberns Variations for piano. In Webern, Tilbury found a freedom from harmonic context that allowed normally jarring dissonances to appear "warm, even sensuous" because they were transformed into timbres, into pure sounds rather than relational harmonic values. This same concentration on every individual sound allows Tilbury to breathe new life into a tap on the pianos strings, a simple sequence of descending notes or even a commonplace consonance. Indeed, there are moments of simple beauty in The Just Reproach that remind us that, in addition to his devotion to the work of Morton Feldman, Tilbury is also the major interpreter of the piano music of Howard Skepton, with its reduced folk-forms and static airs. Ambarchis guitar does not simply provide the steady backdrop for Tilburys articulations that we might expect, but rather engages in a more complex interaction. Gentle swells of tones, sometimes supporting Tilburys iterations, at other times complicating them, alternate with occasional bursts of abstract electricity. Ambarchi constantly moves his sounds around between multiple amplifiers and a Leslie cabinet to produce a subtle yet environmental whole, interacting both with Tilbury and the sound of the room, edging forwards into a clear sonic presence before dispersing back into silence. Despite the hushed nature of the performance, Ambarchis signature sub-bass tones are not absent, but in fact form an essential part of the texture woven by the two musicians, taking on an ominous quality like the distant rumblings of a helicopter through the night sky. Far from a simple exercise in reductionism, the reduced volume of the duos performance acts like a microscope focusing the audience on an incredibly rich palette of sonic details. As in the late works of Morton Feldman, a seeming homogeneity to the proceedings reveals itself on closer inspection to be a ceaseless investigation and reconfiguration of sonic events, allowing the listener to move freely between the lushness and warmth of the sounds themselves and the questioning, non-linear forms Tilbury and Ambarchi spontaneously construct from them. Deluxe limited edition vinyl designed by Stephen OMalley with stunning artwork by Shunichiro Okada." -Black Truffle.

"Perry Tillis was born July 29, 1919, in Elba, Alabama , and began playing his brand of rambling blues at a very early age. He continued playing the blues and singing gospel, despite going blind, up until his death on November 3, 2004. In the 40s Tillis played the Chicago blues circuit. However, when a revelation convinced him it was the devils music, he moved back home and began preaching the gospel. This LP is culled from 72 hours of cassette tapes recorded during the last 10 years of Tillis life. Extremely lo-fi gospel with Tillis playing guitar and singing into boombox. Not for the faint of heart. This is a first time release of this material. Liner notes included with archival photos. Tip-on jackets." -- Mississippi Records

"Visual artist, Wolfgang Tillmans, consider his first passion in life to be music. The A-side features two pieces recorded in 2015/2016. The B-side features three songs recorded in 1986 with Bert Leßmann. "Make It Up As You Go Along" is a pulsing dance track based on the recordings of a book printing press in Stuttgart. "Triangle / Gong / What" is an experimentation made up of a special alloy triangle, a 999 fine gold gong and a vocal line. The 1986 recordings on the B-side were filtered and EQed with the help of Tim and Klaus Knapp." - Fragile.

"The mystery behind Frank Oceans recently-released visual album, Endless, continues to unfurl with another piece of the puzzle revealed. In an Instagram post, Tillmans revealed that his track, Device Control, was the closing song on Oceans Endless" --Vice, August 22, 2016. This EP is the only physical release of photographer and musician Wolfgang Tillmanss "Device Control," following its digital release as part of Frank Oceans Endless and the wave of coverage that ensued ("The photographer is on the hottest record of the year." --Artnet). The Device Control EP also includes three remixes of "Make It Up As You Go Along" from Tillmanss 2016 2016 / 1986 EP (FRAGILE 001EP) -- two by Daniel Wang & J.E.E.P. and one by Salem, ahead of the witch house trios first album since 2010." - Fragile.

"Through seven meditative pieces, the duo of NATHAN MCLAUGHLIN (tapes, etc.) and CODY YANTIS (guitar, etc.) take a trip into fatigue, informed first-hand by the conditions from the which this music springs. Angular Music is inspired and provoked by Bill Dixons idea of going to the center, and is one of the most engaging concrete works to emerge in years. Limited edition of 100 copies in hand-printed sleeves." -Soft Abuse.

"Pleased to announce the inaugural release on Round Bale Recordings, a private press record label associated with the Free Form Freakout podcast series (a.k.a. The FFFoxy Podcast) that will focus on small edition releases across various physical formats. This first LP comes from the group Tilth and their long-awaited sophomore album. Initially the duo of Cody Yantis and Nathan McLaughlin, whose debut Angular Music came out on Soft Abuse in 2012, Tilths new trio incarnation includes long-time collaborator Joe Houpert, who has worked with McLaughlin in Loud & Sad and with both on the superb Line Drawings release out on Desire Path Recordings last year. Each of these musicians solo and collaborative works have been featured regularly throughout the history of the Free Form Freakout podcast series. In fact, Tilth performed their very first live outing in a show that we arranged here in Mankato, Minnesota a few years ago. It was quite an exhilarating performance filled with clashes of tape drift, stringed dissonance, free jazz eruptions and the occasional verbal prodding amongst the group members to push towards some next level catharsis. It was a rather compelling live show that opened the door to new possibilities only hinted at on their debut release.
After several months of planning and collaboration, we couldnt be more pleased to finally offer Country Music, an album that captures the bound-up tension and breezy release of that memorable first performance. Its country music not in style, but music conceived during a time and place marked by rural living and relative isolation. McLaughlins reel-to-reel textures and Yantis resonant guitar work are still present, but the sonic palette has been noticeably widened with Houperts skittering percussion and dissonant violin scrapes adding new rhythm and color as the album unfolds. Theres much more to it: nuance, space, breath, and grit. Ah, yes, its indeed Country Music!
This first LP release comes in a numbered edition of 150 copies with hand-printed artwork by Casey Deming. The album was mastered by Sean McCann." - Round Bale.

"Time was recorded in 1968 in Toronto, Canada. Lynn David Newton, the founder of TIME studied in the same class as Jim Cuomo from The Spoils Of War in Urbana IL, Beside 2 other members the artist David Rosenboom was a member of TIME. This is a musical masterpiece. Well-composed, well-played, touchy and twisted. All original songs with a big influence from the British Underground, with harpsichord, flutes, percussions, horns, many effects and lot´s of heavy fuzzguitar and a singer who sounds like Robert Wyatt in the early 70´s. A year later they moved to NY and became Think Dog, which will be also released this year. The Dakota Building (the home of John Lennon in NY): Imagine Mia Farrow in the movie Rosemaries Baby sitting in her window and watching the NY streets below while it´s raining outside.....that´s what the music feels like." - Shadoks.

"Before There Was... , never before released, was recorded in 1968 in Toronto, Canada. Lynn David Newton , the founding member of Time studied in the same class as Jim Cuomo from The Spoils Of War in Urbana, Illinois. Along with David Rosenboom and two other musicians, Before There Was... is a well-composed, well-played musical masterpiece that is both touching and twisted. Heavily influenced by the British Underground, these are all original songs, replete with harpsichord, flutes, percussion, horns, many effects and lots of heavy fuzz guitar and a singer who sounds like Robert Wyatt in the early 70s. A year later, Time moved to New York and became Think Dog (also released by Shadoks Music). Imagine Mia Farrow in the movie Rosemarys Baby sitting in her window and watching the New York streets below while its raining outside -- thats what this music feels like. " - Shadoks.

"By now this duo should be far from a mystery though their psychic
audio mythos has been continually deepening, growing, and
transcending. Comprised of Vanishing Voice members G. Lucas
Crane(Non-Horse) and Heidi Diehl, these New Yorkers flee the trappings
of the fashion capital of the world for the land of home grown
psychedelia. Non-Horse plays a crate of cassette tapes and a chain of
delay. Wrapping sounds from various sources into a concocted aural
remedy from reality, a psychedelic blanket sheltering you from the
outside world. Heidi lends her voice and dripping dream guitar work
to the powers at hand, juxtaposing heavy bass with light whispers and
shimmering strings with deep murmurs. On the B side fellow spirit
forcer Steve Gunn of GHQ brings a new element to the group,
percussion. A natural oneness is developed between all players,
creating earth music with a deeply rooted sense of calmness and
serenity. In an edition of 100 numbered tapes with printed labels." -Arbor.

"Live documentation of the sonic communion of the German gruselkraut drone collective Datashock and the American space music duo Time Life. (Time Life aka lucas nonhorse crane and heidi diehl of the vanishing voice / wooden wand).
This album presents two transatlantic collaborations performed in European cultural capitals during a March 2008 joint tour, mirroring the planned congregation of the old country and the new world. These lightning in a bottle recordings distill the individual psychedelic gestures of each player as they together forge the crypto-mythical group mind.
This
release is a limited CD with a great a5 (5.8" ÿ 8.3") cover folder
silkscreened by j. kauth. First 200 in a different colour!" - Textile.

"The Timeless Pulse trio is Pauline Oliveros (accordion), with percussionists George Marsh and Jennifer Wilsey. Released in honor of the 20th annual Deep Listening Retreats held this year in Camallera, Spain and Petaluma, California, this is the third Timeless Pulse album. Formed in 1991 during a residency at the Deep Listening Institute, the full ensemble, including Thomas Buckner and David Wessel, has released two live recordings on CD: Live At CNMAT and Quintet. This is the first time this entity has been stripped down to a trio, recorded in a studio and released on vinyl. Divided into four sides with titled subsections, the album includes guests Ione and Joyce Kouffman contributing spoken word and cello on "Real As Any Dream." Mastered for vinyl by Kenny Evans at Mesa Recording, cut direct to metal and pressed on 200 gram virgin vinyl, this double LP is limited to 500 copies. It comes packaged in the custom designed slipcover and jacket with double-wide spines used for the Deep Listening Band Then & Now Now & Then 2LP. The slipcover features two exquisite photographs and is dual-finished with a gloss front and uncoated back. The jacket is printed with metallic ink, has a flooded pocket and features an essay by Amy Beal, Professor of Music at the University of California, Santa Cruz." - Tiaga. "The sound world within which Timeless Pulse Trio prefers to work: sustained sounds like Paulines accordion drones, gongs, bowed cymbals, ornamented by rattles, bells and the cracks and pops of the drum set and struck resonant objects ... These recordings emanate from a culture of active listening, as promoted and practiced by this trio, as well as by many other ensemble-based improvisers and meditative musical practices around the globe. The heart of free improvisation rests in the act of listening, and in the discovery inherent to that process." - Amy Beal.

"A collection of songs found on various cassettes (left as street shrines to the bands genius) from TIMES NEW VIKING. Lovingly fucked with by producer MIKE REP (GBVs Propeller and Get Out Of My Stations), Dig Yourself features eleven tracks of raw, primitive sounds, loaded with wheezing and croaking organs, flesh-hacking guitars, sick-snapping drums, and frantic male and female vocal dramas. TNV successfully skirt the current homogenization of the rock press pigeonhole. Neither are they new-weird-America, nor are they new-noise-underground. One suspects rather that the band is at the forefront of a new, yet-to-be defined movement." - Siltbreeze.

"What you have here is a collection of songs found on the various shrine cassettes. Theyve all been lovingly fucked with by Mr. Mike Rep, (the man behind the lo-fi genius of Guided By Voices Propeller and Get Out Of My Stations among other things) and as the old saying goes the proof is in the pudding. TNV successfully skirt the current homogenization of the rock press pigeonhole. Neither are they new-weird-America, nor are they newnoise-underground. I suspect Times New Viking are at the forefront of a new, yet-to-be defined movement." - SIltbreeze. "the eleven songs contained herein are marked with reverence. Think of Dig Yourself as its own shrine, dedicated to the kling klang of classic lo-fi pop experimentalism and punk sentimentality - Xpressway Records back in the day, old school Dead C, GBV prior to the endless name checks, or shades of the Swell Maps mixed with a hundred unheard Nuggets-era singles. Without a doubt, this is one of the most surprising records of the year." - Dusted.

"Eight years after their partnership began with the debut of Dig Yourself, TIMES NEW VIKING and Siltbreeze join forces again for the bands latest outing-six tracks, the result of a recent creative (albeit, modest) outpouring of ideas. Whats interesting to note here is how the trio tempers the primal panic-punk of their salad days and fuses it with the sustained, keen pop skill found within their later catalog. Its hard to know where Times New Viking goes from here, but for right now, this perfectly distilled elixir of sound shows a band firing on all cylinders. What more can you ask for? Includes a digital download." -Siltbreeze.

"The lastest from Columbus, Ohios TIMES NEW VIKING ably avoids D.S.A. syndrome (an acronym coined by The Shadow Ring meaning "difficult second album"). Having developed even more vim and vigor, TNVs blur of high-concept pop, crud, and crunch is staggering. Its the malcontented rumble of Times New Viking wistfully channeling spirits from the grime of Washington Beach to the shine of the Otago Peninsula. And in Reich-speak, that may take a thousand years to achieve, but you dont have to be a Scottish weaver to know that paisley wasnt patterned in a day. Patience is a grace. In the meantime, hold onto the rail and let it rock! CD features six tracks not on the upcoming vinyl, including a rad half cover of the Half Japanese classic "Thing With a Hook (Lovers Lane)," plus both songs from the bands 2006 single Busy Making Love And War." - Siltbreeze.

"The lastest from Columbus, Ohios TIMES NEW VIKING ably avoids D.S.A. syndrome (an acronym coined by The Shadow Ring meaning "difficult second album"). Having developed even more vim and vigor, TNVs blur of high-concept pop, crud, and crunch is staggering. Its the malcontented rumble of Times New Viking wistfully channeling spirits from the grime of Washington Beach to the shine of the Otago Peninsula. And in Reich-speak, that may take a thousand years to achieve, but you dont have to be a Scottish weaver to know that paisley wasnt patterned in a day. Patience is a grace. In the meantime, hold onto the rail and let it rock! CD features six tracks not on the vinyl, including a rad half cover of the Half Japanese classic "Thing With a Hook (Lovers Lane)," plus both songs from the bands 2006 single Busy Making Love And War. Limited edition LP with lyrics etched on the B-side." - Siltbreeze.

Limited tour 7" with handcolored sleeves. "The Times New Viking side is a hot preview from their forthcoming Presents The Paisley Reich (cd) release; 3 songs-including one track ripped from/inspired by half of a Half Japanese cover-that will no doubt continue to have the glossy compnoscenti spilling verbiage about comparisons to Pavement or Guided By Voices simply because they cant "accurately" reference (let alone ever heard) the Clean or Axemen. But its all good, right? Psychedelic Horseshits contrib continues to pile up the no-fi ante, tipplin towards the Axemen side of the coin; smearin, slashin both spleen n strings in the grand tradition of Bob Cardy & Stevie McCabe so expertly that if I didnt know better Id have figured these tracks was culled from a Sleek Bott cassette. If this comparison sounds foreign to you, thats cause it is. We cant all be from Gods Country. Its high time some of ya learned that. Wait, did I just say high? What in the hell is......." - Silltblog.

"Side project of Television Personalities guitar player Ed Ball and singer Dan Treacy, only here Ball does vocals and Treacy plays guitar. The Times was Balls own brilliant mod homage to the whole Carnaby Street scene. Pop Goes Art! was also the first release on Treacy and Balls Whaam! label, and featured the hilarious Ray Davies-influenced I Helped Patrick McGoohan Escape (Patrick McGoohan, of course, being the doomed star of the T.V. series The Prisoner), Miss London and other forgotten classics." - Cherry Red

"I used to eat garbage / now I eat steak / I used to steal from the thrift store / now I donate." In a time when babies are seemingly born with mohawks and tattoos and everything fails to shock, how does one whos embodied the punk ethos for years survive? Easy...they become nice. In the decade weve known Tim Vulgar hes responsible for a large chunk of our favorite music. "Im a Nice Guy Now" is an all-out killer. Youre either already aboard this train or have been standing at the station for years, trying to figure out what in the hell is going on. Somber b-side shows the tender touch Timmy has. We predict tears...especially from the nice guys." -Cass

"Finally! The King of Weird Punk finds himself on Douche Master. If there were a budget rock hall of fame, TIMMY VULGAR would almost have to be one of the first inductees. Its always a thrill to see what Timmy will do next, either in a studio or perhaps walking down the street. The A-side is grimy as hell and sounds a bit like early Dead Boys. B-side carries a similar vibe but with a healthy dose of heroine soaked Bad Seeds. Edition of 600." - Douchemaster.

"Sacred Bones is proud to present this 5-song EP spread across two 7 inches from Timmys Organism, the solo alter-ego of Human Eye frontman and Clone Defects mastermind Timmy Vulgar along with members of Hamtramcks Terrible Twos. Traversing the gap between the disjointed Helios Creed-inspired work of Human Eyes skronky punk and more spacey out there explorations Timmys Organism is the next logical step in a family of Michigan noise that includes the now defunct Pirhanas as well as Tentacle Lizardo, The Frustrations, Reptile forcefield and even Tyvek. More stripped down and raw than anything Human Eye has done to date but no less intense! Dont miss out on this one!" - Sacred Bones.

"Tin House were so good—their music was a hard-rocking onslaught of lust, chops and powerhouse riffs that gripped like an alligator bite—they were signed to Epic Records out of high school. They were respected by Leslie West and Johnny and Edgar Winter. Their album (released in 1971) was produced by Rick Derringer. But like other almost famous bands, Tin House fell away into unjust obscurity. Tin Houses focus was on heavy rock like the sex-fueled opener, "I Want Your Body,” and standout track "Be Good and Be Kind,” with a catchy up-and-down, down-and-up riff played adeptly by guitar prodigy Floyd Radford, and a driving monster beat laid down by drummer Mike Logan; the song tears in as a fast as a Florida hurricane and sweeps the listener up into its vortex for two-and-a-half minutes of energized bliss. Yet the album also showed diversity: Radfords melancholy ballad "Tomorrow;” the jivin’ honky tonk of "30 Weight Blues” (a tribute to the band’s 1962 Ford Econoline van); "Lady of the Silent Opera,” which featured orchestration by seasoned studio musicians from New York City’s Local 802 Union to underscore its positive message of “look to the heaven—smile to the blue sky.” This Lion Productions reissue includes everything Tin House recorded for Epic, including two previously unreleased tracks and the elusive (and unique) single versions of "I Want Your Body” and "Be Good and Be Kind”—all taken directly from 24-bit/96kHz master tape transfers. Four panel insert has liner notes by Doug Sheppard (Ugly Things) and photos from the archive of drummer Mike Logan. Lean, fluid, tight, and the best hard rock album from the USA you probably never heard of (until now)!
“In the twinkling universe of virtuoso electric guitarists that followed in the wake of the genre’s progenitor Jimi Hendrix, perhaps one of the most deserving of renewed recognition is Floyd Radford of the band Tin House, a little known three piece that signed briefly to CBS records in 1970 and released one highly prized album a year later. The overdriven, fluid guitar work—heavy on the wah-wah pedal—is brought to the fore by a beefy full production that lifts the band above the sludgy audio presentation that bedevilled many heavy rock albums of the era.” —Richard Allen, Shindig! Magazine.
LP + bonus 7" EP cut directly from 24-bit/96kHz master tape transfers.

"What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man (proper name Johannes Auvinen) explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last nights unmade sheets. Appropriately, Tin Mans melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently-repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 -- his control is akin to a virtuosic Theremin-player, all dramatic lunges and dynamics. Yet on tracks like "Depleted Serotonin," the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Mans palette of tasteful reserve. Always conceptual, Tin Man is commenting on big-room techno music by presenting his thoughtful, hungover version of it. On "Vertigo," he reins in the acid box acrobatics -- opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. Its a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinens recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Mans music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dream-like track is another clue. He ends the set with the intensely dramatic "Memoraphilia" and "Ode." The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the albums textural base. Almost immediately, Tin Man introduces an octave-jumping acid refrain. The four-bar loop reaches operatic heights of yearning. "Ode"s rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after its disbanded. What comes when the dance is over?" - Acid Test.

"Gatefold double LP version, in gatefold sleeve. Includes download card. What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man (proper name Johannes Auvinen) explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last nights unmade sheets. Appropriately, Tin Mans melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently-repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 -- his control is akin to a virtuosic Theremin-player, all dramatic lunges and dynamics. Yet on tracks like "Depleted Serotonin," the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Mans palette of tasteful reserve. Always conceptual, Tin Man is commenting on big-room techno music by presenting his thoughtful, hungover version of it. On "Vertigo," he reins in the acid box acrobatics -- opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. Its a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinens recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Mans music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dream-like track is another clue. He ends the set with the intensely dramatic "Memoraphilia" and "Ode." The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the albums textural base. Almost immediately, Tin Man introduces an octave-jumping acid refrain. The four-bar loop reaches operatic heights of yearning. "Ode"s rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after its disbanded. What comes when the dance is over?" - Acid Test.

"Lovely second release by Austrian Edition Bierammer (after the Joseph Beuys / Nam June Paik Coyote III LP). This time a long-overdue reissue of Jean Tinguelys Sound Sculptures cassette from 1983, originally released on Audio Arts. Presenting recordings of 13 of Tinguelys kinetic sculptures at the Tate Gallery exhibition in 1982 including a 18 minute piece performed by Meta-Harmonie. Essential document of one of the important artists in this field. Edition of 150 copies with gold on white silkscreen cover." -Edition Bierammer.

"Tinopeners were an Irish punk band formed in May of ‘77 to perform at their high schools battle of the bands. Soon after, they began playing out, recorded a few rough demos at a local music store and sent them to George Doherty of Rip Off Records. The demos were well received and Rip Off put them in George Temple Patrick Studios to record a single which would be produced by Clive Culbertson. Afterwards, Culbertson brought the tape to London and LOGO Records offered to distribute the single. The singles two tracks sit more on the pop side of punk and contain some super catchy lyrics. Thus, the single was fairly successful; selling upwards to 3000 copies, but by 1981, the skinhead scene was growing in Northern Ireland, creating a social tension that would ultimately lead to the bands end. A second single was recorded but never released." - Sing Sing.

"Their brand of wiry songsmithery is sure to embarrass those with weak kidneys and delicate sensibilities, but, for the rest of us, this will provide some proof that life is not quite over, and there are others looking to spoil the cultural soup. Adult topics for times of missing children. Milk cartons featuring pictures of missing middle fingers." -Load

"TINY TIM: Lost and Found 1963-1974 is a collection of 17 incredibly obscure songs consisting of previously unreleased actetates, privately pressed 45s, and an early 60s studio session that was arranged by MILTON GLASER. Much of the material on this release was thought to have been lost to time, but after many years of collecting and compiling by Tiny Tim enthusiasts, Secret Seven Records is making it available to a wider audience for the first time. Lost and Found contains tracks from Tinys pre-fame years, recorded between 1963 (When he was still known as DARRY DOVER) and 1966; as well as material from his post-fame years, recorded between 1971 and 1974. Furthermore, the material is unique because they both represent eras of desperation for Tiny Tim. The material from the 1960s represents Tinys years scraping by, performing in dives in Greenwhich Village and living with his parents who had, by 1963, written him off as mentally ill. The material from the early 1970s, recorded while his mainstream career was in its decrescendo, is representative of an time in which the world saw that brightest stars burn out the fastest. However, it was during these eras of desperation that Tiny recorded some of the best, eclectic, and intriguing material of his career. This limited edition LP includes liner notes by Tiny Tim historian / biographer, JUSTIN A. MARTELL and a cover photo by BARON WOLMAN." -Secret Seven

"Numbered edition of 500, glossy heavy sleeve on 180 gram vinyl. Originally released in Nigeria, 1977. Tirogo is another great sample of lost African psychedelic music. It was recorded in Nigeria in 1977 and originally released on EMI, same as the great album BLO - Chapter One. This Nigerian rock-psych band Tirogo is similar to bands such as Ofege, BLO, Founders 15, Doves, and Aktion. Great African songs covered with wild guitar solos, spooky organ, great beats and strong vocals. 4 guys on the cover / 6 were actually in the band looking pretty young. It is getting harder and harder to find lost African bands since there is a big rave in the International music scene to hunt for good material. With the massive help of collectors and Now Again Records in the USA, who actually went to Nigeria to sign the boys, we are able to present this amazing album to you. It will suit the same music lovers who like Amanaz, The Witch, Question Mark and BLO." -Shadoks

"Self produced album from Niger Tuareg rock outfit TisDass. Looping electric guitar and thumping two chord rhythms. Led by singer songwriter Kildjate Moussa Albadé, former bassist for Group Bombino, his solo project draws on his vast repertoire of influences, inspired from his years on the road. Covers and some original compositions, paying homage to desert origins of assouf music, while ushering in a new global sound." - Sahelsounds.
Yamedan by TisDass

T.T. were included on one of my all time favorite 70s weirdo DIY releases, the “Artifacts Vol 1” flexi, released in 1978, and featuring various recordings from the early-to-mid 70s Richmond, VA sub-underground (also released on Artifacts- BOMIS PRENDIN, SINGLE BULLET THEORY,IDIO SAVANT, TOM & MARTY BAND, ORTHO-TONICS..) “The first disc is a remastered reissue of their lone 7" from 1971 and the second contains one older song and newer-ish track that will likely become a big hit…somewhere. You also get two inserts (one with a history of the band and one that features a family tree of 70s RVA groups).Yes!” - Steady Sounds.

"TITLE TK (ALAN LICHT, HOWIE CHEN, CORY ARCANGEL) is a banter-prone band that has been described as "a cross between David Antin and Spinal Tap." Rock$ is Title TKs debut album and by album I mean its a transcription of a private conversation they had. This is a book that looks like a record. There is no LP or audio included." - New Images.

"If youd have asked me yesterday if I needed to hear another cover of the Stooges Wanna be your dog", the NO wouldve resonated like one of them Alps yodellers in the Riccola commercial. But after hearin Titmachines version of said overdone classic, Is liked to have choked to death on my cough drop. A tremendous neanderthalic, witchy all-fem DIY sucker punch right between the eyes of any of the greatest punk primitief classics you can name, right up there w/Kleenex & Manisch Depressiv. Id have peggedem as Swiss too, but theys Dutch & much like their infamous elm disease, Titmaster is more than capable of complete devastation. The B-side a wondrous mess as well & I am goin to the front of the line to wait impatiently for their next amazing release. Cmon, lets have it! NOW!" - SILTBLOG. "The four members of TITMACHINE met in prison (each was convicted of crimes she did not commit). Unable to find gainful employment upon their discharge from stoney lonesome, the ex-inmates formed a band, naturally, the ideal vehicle for the unemployable. The lucrative alternative Dutch music scene rewards them handsomely in exchange for the quartets release of pent-up rage fueled by continuing injustice. Since October 2006, Titmachines raw and loose sound has remained unhampered by the constraints of talent, and answers questions anyone has yet to ask. Kinda like the Dutch Shaggs meets the female Monks and Flipper with a conscience."-Meeuw Muzak. Restocked!

"For the lucky few who were floored by Titmachines debut 7" (released earlier this yr via Meeuw Muzak) come this sophomore effort, loaded for bear & released on the Siltbreeze label. Continuing their penchant for a-side covers, this time the ladies tackle Palais Schaumburgs Wir Bauen Eine Neue Stadt (or We Build A New City if you speak only in Gods preferred tongue) & the results are as devastatingly great as could be imagined. Stripped of its NDW gloss, Titmachines reworking is more doused in raw Gueuze than refined Pilsener. In other words, them yeasts be wild yall! The flip is an awesome (& original) little jawdropper entitled 1989 & is remarkably akin to what the Shaggs might sound like tackling the Urinals Ack Ack Ack. Pressed on heliocentric black vinyl in a human(e) edition of less than one million copies, how chuffed can your summer be if you miss this chance to woggle in Titmachines primitve, urpy grock? Dont tempt fate, buy now!" - Siltbreeze.

"Out-Sider present the first vinyl reissue of Jungle Lady (1974) by Titus Oates. This is the first ever legitimate vinyl reissue of this progressive hard-rock private pressing from Texas, 1974. Excellent dual guitars, keyboards, melodic vocals, West Coast touches - think Allman Brothers, early ZZ Top, Wishbone Ash, Homer. Top notch pro-sounding recording and superb musicianship. Jungle Lady saw the light in two different pressings: the original white label Lips vinyl from 1974 is the first pressing, and the red Lips label is a remix done later in Nashville, possibly around 1975. This Out-sider reissue is taken from the remix version, as it was always believed to be "hotter" than the original pressing. One of the classics since the early days or rare psych records lists, championed by influential tastemakers such as Paul Major." - Out-Sider.

"A collection of tracks from Finnish acid rock combo TIVOL. Four tracks of throbbing, violent and aggressive psychedelic rock that has nothing to do with subtlety. The bands already hypnotic material is further enhanced by screamed vocals that do not seem to emanate from this earth. Comprised of four tracks taken from two extremely limited edition CDRs released on the 267 Lattajjaaa and Time-Lag labels, all of which have been re-released with vastly improved sound quality and charming new artwork silkscreened by ROB FISK of The Free Porcupine Society." - Holy Mountain. "Freaking genius! I cant recommend this enough. For any and all fans of the Finnish underground, and psych/kraut in general, Tivol is a must own. Totally fucking excellent. 9/10"-Brad Rosen, Foxy Digitalis.

"Continuing to inhibit the brilliantly fine line between sound sculpture and total free-form, Jeremy Coubroughs (aka Tlaotlon) third album remains firmly rooted in his own very unique brand of electronic-psych. The album effortlessly finds new and even more interesting abstract forms in the oceanic surges and pulses that crash into off centred pulse-like rhythms and pure noise. An enthralling brain-frying exercise in control and chaos, and a captivating listen throughout." - Epic Sweep. Limited to 100 copies.
Calavities by Tlaotlon

"More beautifully fuzzed-out organic surges and pulses from Tlaotlon (Jeremy Coubrough) with a heady mix of psychedelic weirdo beats and electronica. This single follows a split 7” with Whirling Hall of Knives and the Squirt Image Flex album released on Trensmat." -Epic Sweep. Limited to 20 copies.

In 2005, Frans joined Idea Fire Company on their European tour (as documented on the "Vital - Live In Europe" CD). Four years later, Scott F. returned to Europe to screen his feature film "Heres To Love" and reconnected with Frans to form The Tobacconists. An intensive week of rehearsals yielded six new pieces of music, followed by a European tour and a proper studio recording. These new pieces became "A Secret Place."

"A Secret Place" differs from their first LP by its inclusion of bass guitar, rhythms, and synthesizers. Scott Foust calls himself a "one man Dome (Bruce Gilbert and Graham Lewis post-Wire project) promotion army" and admirer of Gilbert & Lewis recorded output of the 1980s, but hes not alone: both Mike and Frans are massive fans too, so they decided this new record should have some of those signature Dome bass lines and general playfulness.

Released in an edition of 300 LPs on "transparent green" 180 gram vinyl in collaboration with Portugals A Giant Fern. Only 100 for the US.

Recorded by Scott Foust, Frans de Waard and Mike Popovich in April 2012 at Geluidwerkplaats Extrapool and mixed later on in 2012 by Frans de Waard, assisted by Scott Foust. Mastered by Jos Smolders @ Earlabs. An Tone Four Giver was commissioned by Gogbot Festival and is dedicated to the memory of Anton Viergever (1958-2012). Smoking Is Green. Ahoy!” - Fabrica. Artwork by Carlos Costa and Iria Cunha. Photo on the label by Jolanda Kempers.

"The first Swill Radio 7" in 26 years dating back to The Story Of Failures Negative Fulfillment On The 83 Spitting Circuit EP. The Tobacconists are Frans de Waard and me and we are both heavy smokers. The Tobacconists did a few shows across Europe in the Spring of 2009 and recorded studio versions of our live material which should be released as an LP by Tourettes Records at some point. We did other recordings as well and from them Frans put together this excellent single. Prometheus is a fire-stealing liver-eater with a truly astounding sonic palette. Dr. Peratis Laboratory has some dark secrets indeed and they are revealed here for the very first time. The infernal mechanism! Great cover by Jos Meeuw and a real 7" sleeve! Fantastic!" -Scott Foust

"Jake Tobin (Floridian , now Atlantan) protagonist of the OSR-allied Truly Bald label (& now kicking it in Surface To Air Missive) cuts an impressive shadow & has already earned his hagiographic installment in the annals of what the f* . the combo of his insane musical aptitude (horns/drums/guitar/vocal) & need to keep things moving // refusal/postponement of unity effects reminds me only of Kurt Weisman circa Spiritual Sci-Fi (check "Affect" if you disbelieve) , & he can rock-in-opposition w/ the best of them -- this is a ton of music for 23 minutes , so get ready to tune your ear up a time scale or three" - OSR.
Accidentally On Purpose [OSR59] by Jake Tobin

"Tobruk was formed by some North American guys living in Brazil, and this wonderful album got released in 1972 on the Cash Box label (sometimes you can see the album named as if Cash Box were its title). Its a pretty good psychedelic album with an astounding, original sound based in fuzz, organ, psychedelic effects and an eerie atmosphere. Its completely sung in English as well. With remastered sound." -Cash Box

Originally released in edition of 100 copies in 1979. Reissue in edition of 500 with download code.
“Very homemade, deep and heartfelt private press from a bunch of teenagers and Todd, mid-late ’70s (some websites call it ’79). Like a perfect mix of Michael Angelo and Fame, housed in a cover that rivals and may ever surpass Rick Grossman.” - Acid Archives.
With Love...From Me To You by Todd

"Limited edition of 350 copies.
It includes double inner sheet 350g printed double-sided and blue DIN A4 sheet with extra information.
TODOTODO was a Technorchestra which emerged on the music stage at the beginning of the eighties, just when Techno movement was the dominant one in the European music framework.
Although its influences were much wider, the three members in TT were absolutely committed to the contemporarity of Techno music language and its possibilities. Every third of the trio was, in itself, an open door towards creativity and each one was concerned with a different view of the same reality, to which, through different ways, they wanted to reach all together with every song they wrote. Francisco “Paco” García, in an impossible get-together with Truman Capote, Andy Warhol and Erik Satie, translated into numbers the stave graphology, almost in a cabalistic way. Pedro “Pequi” Vidal, between Nijinsky and Isadora Duncan learnt the discipline which gives pomp and circumstance to the mise-en-escène, the live. Carmelo Hernández, not far from Debussy, spied with his binaculars, from a terrace in Montmartre, to The Queen Kelly. Yes, they were three boys un peu compliqués.
Actually, TT was the consequence of the melting of three strong characters, with a great team-work capacity, and incredibly charming as a corporate organization. A non-musician, as he is defined, with an IQ remarkably above the average, PacoGarcía. A professional musician, Pequi Vidal, interested in finding out what is going on beyond the walls of the Conservatoire. A vocational musician, Carmelo Hernández, willing to use the musical language as a support to transfer cinematographic emotions and sensations.
TT locked themselves in a top-floor flat of a building, which they gave the meaningful name of ‘The Hyde´s Lab’. There, they worked feverishly for 5 months preparing their live performance and composing a completely original repertoire of which they left sonic witness in two rough cuts (7 songs in total, included in this LP), and a jingle for the radio programme, included in the Sampler Non Plus Ultra, also edited by Doméstica.
TT generated a sonic wall which, at real time and without pre-recorded tapes, on strict live, left nobody indifferent. From the spectacular live of TT there is an unpublished video of their last concert, recorded precisely in Rock-Ola. The band broke up after that concert, and the rehearsals of that concert have been exhumed in the documentary by Antonio de Prada, ROCK-OLA, UNA NOCHE EN LA MOVIDA. That wasnt their best concert as, little before the performance, Carmelos Rickenbacker was dammaged and they couldnt find another one on time. However, that concert was one of the most glamorous ones; among the audience, there were Pedro Almodóvar, Fabio McNamara, Alaska, Nacho Canut, Carlos Berlanga, Paloma Chamorro and, basically, all the “Movida” celebrating the New Year. We hope it will be possible to have it soon, for everyones delight.
The rules of TT were simple: ‘humans compose-programme, non-humans execute it’. There was not a bass guitarist: a computer executed the bass sounds. TT didn’t have a drummer, either, as only a drum machine could follow those wretched patterns ‘four-on-the-floor’, between 120 and 150 bpm.
TT probably broke up because they were not capable of overcoming the external pressure, riddled with interferences which harmed the trio’s internal cohesion. Nevertheless, still nowadays, and without having been able to enter a recording studio yet, TT continues to be an unrepeatable, admired and valued group. Both Muzak / MegadeathExtrème (two thirds of TT), and also RT-1(the remaining third) spread the original sound of TT in their brilliant recordings. However, for both proposals, TT has always been their failed subject, their origin and their raison d’être." -Lou Cypher- Domestica.

"ELISA LAMs FAVE AVANT UNIT"
Yikes! This is not a record: its a ticket pressed in 12" format to get the f- outta this modern era of derivative nonsense in no time flat and get shotgun-expressed into a eerie world of risk taking / PHD-styled lessons in underground experimental extravagance par excellence.
Yuzuru Agis Vanity label delivers the same spinal-tingle-stun -upon- utterance with the same sting as heavyweight / uber strange underground labels like ARTIFACTS, SILVER KEY, YETTI WORDLESS, PALACE OF LIGHTS, PLAT-NUM PRODUCTIONS or the gem of floridas rotten improv scene SPITBALL RECORDS. Vanity is the sounds in the wild that will exist w/o an audience and make NADA sense, and even less as the flat circle of time moves onward to the future. Even being a major critic in the "Rock Magazine" and coining the words "Techno Pop"- the addictive & lustful Agis Vanity world has is a hushed jewel in the big-cash phallic swinging underground detectives-types. (Drop the "Salaried Man Club" tape set or trying counting all the VANITY flexis the crew has in the home piles- in the next cool-out skate park breather period (hour 2-1/2) and watch everyone sigh, count fingers and look the ground). Reissues are scarce- the "boot" of the second Tolerance lp from a couple years ago came and went w/o much of a ceremony- but this debut (the fourth release of the label landing on 1979) by the Masami Yoshikawa & Junko (no that JUNKO silly willy) Tange is a more wild, varied and EXPERIMENTAL slab to grind on and all the better for it.
What lies inside? Lots of nearly ECM-ish acoustic flourishes over effected guitar No wave-ish (scratch that lets say the more equivalent to Japans own voice-grated guitar duo NOISE-ish) stew of things, sounding more like random Dada-eqse experiments in texture and rhythm in a sleek urban-mystery cannon that really makes your brow take some kinda action. It sounds more akin to a Dilaudid- dosed Keith Jarrett trying his best to play along to some crude Thomas Brinkmann record cutting-beat discs, while Law & Orders Brisco and Logan aggressively questioning a dog that swallowed a guitar played by a barbwire criminal (cause "I WANNA BE A HOMICIDE too@!!) harrowing away in a distant concrete slab. Might as well have Murakamis crew of suave editors from 1Q84 transcribe the unholy soundtrack from Japanese to whatever language your ears need it to be, all while standing in the "sweet water" that Elisa Lams decomposing body sunk into it from days lost hidden and rotting in a rooftop hotel pool. Who DOESNT want to hear that?? The Tolerance debut is just plain O.D.D= Occidental Dome- Damaged.
All said and done, this is from a golden day where risks were taken and experimental music stroked the esoteric exotic fires of danger and lust, all while basking in the outsider glow of idiosyncratic glee. Take chances and be yourself, the evidence is all right here persevered for in the confusing grooves of "Anonym." Take it from this VAIN JIT - its about the best time you are spend getting "real"- REAL STRANGE. And that- is R.A.R.E = Recycled Assumptions Re-Qualified as Extraterrestrials.” - John Olson.

Limited reissue of this amazing LP of primitive, murky minimal electronics which was originally released in 1981 on the legendary, Osaka based Vanity Records (early Sympathy Nervous, Dada, Sab, BGM, the mindblowing Music Box Set, etc..). The labels stock-in-trade (aside from a few titles such as Aunt Sally) was raw, electronic experimentation which sounds impressively comtemporary when put up against current glitch, minimal techno and laptop artists (this experimentation included toying with ideas of fidelity [or the lack thereof as is evident on first side of this record], recording techniques [hard panning, volume and frequency drop outs], etc..).
Tolerance, consisting of Junko Tanage and Masmai Yoshikawa, were the only band that released a second album on Vanity. Their first LP (Anonym, 1979) was supposedly the source for the title of the second Nurse With Wound LP, To The Quiet Men From A Tiny Girl.
The label, founded by Yuzuri Agi, also released flexi discs by artists such as Mario Agata, Kurt Schwitters, B. C. Gilbert & G. Lewis, Furious Pig (!!), Brian Eno and others through ROCK MAGAZINE, for which Agi was the music editor. He was also rumored to have ran VOICE records, which in 75-76 released the ultra-mysterious BRAST BURN and KARUNA KHYAL LPs, both featured on the hallowed Nurse With Wound list and reissued a few years back on Paradigm Disc.
"[Vanity] was founded in Spring 78 and its positioned as the first Japanese minor label. "MODERN MUSIC", an extra edition of Rock Magazine in 79 had the following as the operating priniciples of Vanity Records in future. "We will produce records pursuing 1). Electronics Music, 2). "Music as Furniture" series (Modernistic Music), 3). Invation to Kayo-kyoku, 4). Music with experimental new vision (Punk., New Wave, Free Music, Modernistic Music, etc.)." The point #3 may be surprising, but it makes sense considering that Mr. Agi used to be in the world of Kayo-kyoku (he debuted with "Kougen No Bojou" in 67, and had the hit movie theme song "Ore Niwa Tenshi No Kimi Datta"). Unfortunately, it has never been realized, but its so exciting to just think about the singer who debuts with Techno Kayo (just my imagination) on Vanity Records." - ?

"A first-time-on-CD reissue of the legendary Christ Knows LP released by Broken Flag in 1986. Featuring TIM GANE (STEREOLAB) and PAUL LEMOS (CONTROLLED BLEEDING), and PACIFIC 231, the album is a classic of old-school British industrial. Features the complete Christ Knows LP, along with three previously unreleased bonus tracks. Thirteen songs in all. Imported from the UK."

"Antti Tolvi is a self-taught, multi-talented musician. He has played in numerous bands including Lau Nau, Rauhan Orkesteri, and Lauhkeat Lampaat. Born in 1977 in Panelia on the west coast of Finland, he began making music with his brothers, untutored. From 2000-2001 he studied classical Indian music in Varanasi, and this marked a turning point in his perception of music. On returning to his native Finland, he became embroiled in free jazz for a number of years, until a recent relocation to the countryside pushed him ever more towards solo improvisation -- deriving inspiration from, in Anttis own words, "harmonies, overtones, going into sound, no ends, no starts, from nothing comes something, just perfect, peace." Pianoketo can be seen as a culmination of Anttis musical experiences to date. Featuring three extended meditations on a theme, all played on solo piano, it is a sound that defies categorization, with nods towards classical, avant-garde, improvisation, psych, free jazz, and Indian music. A shimmering flux of tones and harmonies, each of Pianoketos pieces seem to collect notes as they gather momentum, expanding and shifting form as Antti breathes life into them. At times, it is almost as if there are two instruments, the overtones working like feedback, playing counter-melodies as notes weave through each other. Anttis technique combines neatly with the personality of the instrument to convey an evocative, psychedelic nostalgia. He expands: "This record was recorded with binaural microphones, attached to the players ears. While playing, as you move your body or head, there is a flanger effect -- thats why the overtones are really flying. Theres no overdubs, effects, or EQ. My main instruments have been saxophones, clarinets, flutes, and all kinds of wind instruments. On Pianoketo, I play piano as I play saxophone, just using 11 notes. Because I dont have to blow, I can focus more on other things. And actually soon I dont have to focus on anything, just listen to what my fingers are doing. Its amazing to find new melodies, harmonies, drones, rhythms, or whatever. And then I can follow that for a while, and then just let go and wait for a new direction. This piano had not been played for more than 40 years, so the tuning had dropped a little. I tuned some notes, to get more overtones. Most of the notes have found their own resting place over the years, just resonating in sounds and vibes at Grandmas." -Fonal.

"Antti Tolvi is known for his work in Rauhan Orkesteri, Lauhkeat Lampaat, Lau Nau live band, Päivänsäde and Taikuri Tali. Here Antti plays one long sound from harmonium. Hand assembled silk paper sleeves." -Peippo.

"With these two improvisations on keyboards and synths Antti Tolvi creates a sonic space with a constantly shifting center of gravity, a swirling foray into kaleidoscopic bliss. Edition of 100 copies." - Sloow Tapes.

"Celebrating 35 years of vagabond soul by one of Japans most distinctive and original folk voices. A Bumpkins Empty Bravado (Japanese title: Inakamono no karagenki) is Tomokawas first completely solo album in fifteen years and a triumphant return to full-voiced form after his recent illness. Stripped of his usual backing band, theres a crystalline hardness evident in the best of Tomokawas songs here -- a hard, blazing core in which mellifluous lyricism and eruptions of highly individual madness are fused. Lyrically theres a new focus on Akita, the northern prefecture of his birth, as well as on the linkages between visual and musical art. Nine tracks; thirty-five minutes. Booklet includes liner-notes and lyrics in Japanese and English." -- Alan Cummings

"Eleventh PSF album from the Japanese undergrounds most handsome folk-truthteller and all-round renaissance man. Nine new songs, including two more musical settings for the symbolist poems of Japans Rimbaud: Chuya Nakahara. Tomokawa has inhabited an utterly unique world very much of his own making for over twenty-five years now. A world where the most limpid of minor melodies and symbolism-inspired natural imagery can happily rub shoulders with EXTREMELY peaked torrents of pained screams over the densest of acoustic noise-scapes. What welds it all together is Tomokawas self-evident to desire to take himself and his audience through the wall with every performance. Forget any image of the sensitive folkie, Tomokawas music is as violent and cathartic as anything in the underground rock or free jazz canon. For anyone at all still concerned with the possibilities of words, voice, and acoustic communication, Tomokawa is an unparalleled contemporary touchstone. There is more truth and beauty in any one of his songs than in most singer-songwriters entire repertoires. Believe it." - Alan Cummings.

"Latest album of devastating emotional transcendence from the Japanese undergrounds most lyrical singer-songwriter. Full of classic, richly textured songs of love, loss and stunned acquiescence to the wonders of the world. Alongside Tomokawas regular collaborators, Toshiaki Ishizuka and Masato Nagahata, the expanded group also includes Compostela-veteran Takero Sekijima on tuba and recorder, and improv-legend Hiromichi Sakamoto on cello. Includes Tomokawas ending theme song for director Rokuro Mochizukis Johnen - Jo no Ai, a re-telling of the Abe Sada story. Booklet includes lyrics in Japanese and English." -PSF

"Fifth CD on PSF by Tomokawa; including Moto Yoshizawa (bass) and Toshi Ishizuka (perc.; Cinorama). Emotionally flayed acoustic chant exorcisms by a master; English listeners whove had trouble getting into Tomokawa might want to try again here; this is avant-folk expression like little youve ever heard before, and the opening track (title track) would have to go on any best of PSF sampler youd want to put together."

"Tomokawas twelfth leader album on PSF (the title translates as The Eyes of Elise), and hence his nineteenth in a career that dates back to the mid-seventies. Tomokawa stands, together with Kan Mikami, as one of the most unique singer-poets thrown up by Japans folk boom of the late sixties and early seventies. Each new album from him represents not simpleminded progression but a privileged glimpse into a sound continuum as forcefully individual and special as any other name you might want to drop in this field (duh -- Buckley, Drake, Hurley, Jandek even). In Tomokawas universe, melodies of limpid and mellifluous grace rub shoulders with rhythmically violently and convulsive purges of soul bile. Tomokawas voice is one of the most special in the Japanese underground: ragged, strained and deeply accented, far removed from conventional standards of singerly intonation, but undoubtedly a sound of deeply human beauty. The group provide the ideal un-square settings for Tomokawas complex symbolist songs, at all times attaining a perfect marriage of acoustic density and forward lope. As an added bonus, long time admirer Keiji Haino adds some trademark abyssal guitar on two tracks." - Alan Cummings.

"Fourth volume in the PSF Picture Jacket Collection of Tomokawa reissues. Originally released in 1995 as PSF 049CD. Features material recorded live in Nihon Seinekan, 1994. Kan Mikami teams up with Tomokawa, with contributions from heavy bassist Motoharu Yoshizawa."

"2nd volume in the PSF Picture Jacket Collection of Tomokawa reissues. Hanabana was originally issued in 1995 as PSF 029CD.Tomokawa is a legendary singer-songwriter similar to Kan Mikami, but more sensitive like Tim Buckley. It tends to be very difficult to drag westerners into Tomokawas insanely wired world, but once attached, his music has breathtaking depth and charge." - FE.

"Compilation of new and previously released tracks from Kazuki Tomokawa, Japans god of emotionally transcendent song. Tomokawas convulsive and passionate songs have recently graced films by two of Japans most notorious directors, legendary underground director Koji Wakamatsu (whose career dates back to the early sixties) and Takashi Miike, the current enfant terrible of weird and ultra-violent genre flicks. Tomokawas appearance playing himself in Miikes time-travelling samurai vengeance movie IZO in particular has stunned festival audiences -- the violent, cathartic and irrational beauty of his songs chimes perfectly with the films mood. Twelve tracks in total, including Pistol the amazing title-track from IZO, previously only available as part of the PSF 13 CD boxset (PSFD-134 / 146). Also includes three entirely new tracks, and three radical re-recordings." - Alan Cummings.

"Screaming folk-poet Tomokawas twentieth album in a career that stretches back to the seventies. And theres still no sign of him mellowing with age -- he still spits lyrical bile and emotional venom like no one else on this earth. His forceful long-term group provides loose and translucent settings for Tomokawas beautiful madness, and the return of Ayumi Matsui on soaring violin is a very welcome development. This latest album was inspired by and is dedicated to the memory of Kenshin Sumitaku, a young free-meter haiku poet who died from leukaemia at the age of twenty-five. Yet another genuine, humanly touching, inspiring masterpiece from one of the unsung contemporary masters." - Alan Cummings.

"Kazuki Tomokawas gigs are now a lot less frequent than they used to be, and his August 2005 Osaka date was his first in Kansai for quite some time. But accompanied by his long-time trio of Toshi Ishizuka on percussion and Masato Nagahata on piano, this was, in Tomokawas own estimation, the best gig that this trio has ever played. It was far too good a performance to be left to fading memories, and Tomokawa himself talked PSF into releasing it. Sixteen tracks of his patented soul-folk, emotionally charged and devastating as all hell." - Alan Cummings.

"Part of special PSF treatment of artist Kazuki Tomokawa, now reissued in special art editions, strictly limited to 500 copies each. Each will come in a gatefold card jacket, with new specially commissioned illustrations by Tomokawa on the cover and gatefold. All titles have been previously available from PSF in regular jewel box editions. This is the third Tomokawa (Buckley-esque folk legend) release -- a collection of live performances." - Tomokawa.

"Six previously released titles by Kazuki Tomokawa have been reissued in special art editions, strictly limited to 500 copies each. Each will come in a gatefold card jacket, with new specially commissioned illustrations by Tomokawa on the cover and gatefold. All titles have been previously available from PSF in regular jewel box editions apart from Chuya Nakahara Poems, which was a bonus disk previously only available as part of the Tomokawa boxset. This is the second Tomokawa CD on PSF, a reissue of a 1985 masterpiece. More of his aggressive and inspired folk."

"Six previously released titles by Kazuki Tomokawa have been reissued in special art editions ("Picture Jacket Collection"), strictly limited to 500 copies each. Each will come in a gatefold card jacket, with new specially commissioned illustrations by Tomokawa on the cover and gatefold. All titles have been previously available from PSF in regular jewel box editions apart from Chuya Nakahara Poems, which was a bonus disk previously only available as part of the Tomokawa boxset." Muzan no bi was the second Tomokawa CD to be released via PSF, originally issued in 1995 as PSF 033CD. A reissue of a 1985 masterpiece. More of his aggressive and inspired Japanese folk." - FE.

"Limited LP set of 450 numbered copies and all but 50 copies stayed in Japan. We have the last of the 50 copies available from the label to sell for the USA market.� Satoru� is Tomokawa Kazukis first ever LP release in over 20 years time and Tiliqua Records is proud to be able to release this sonic gem. � Satoru� � was previously only available as part of the 13 CD Box set that PSF Records put out some years ago and has never been available outside of the set. Now �Satoru� is finally available apart from the illustrious box and is been rebirthed as an LP, housed in sturdy and heavy jacket adorned with Tomokawas artwork. Coming with the LP is a two-paged insert printed on high quality glossy paper. It contains liner notes penned down by Alan Cummings and Johan Wellens, notes that shed some clarity on Tomokawas universe, historical background, poetic qualities and the position he takes in within a long line of historical Japanese poets. In order to get a glimpse of the aural regions this album will steer into, this is an as close a comparison one can have using plain words. �There is a raw immediacy to Tomokawas performances that effortlessly hurdles many linguistic barriers, speaking direct to the listeners nerves and emotions� � Tomokawas voice constantly storms against the confines of his own vaguely symbolist words, harshly screaming or melodically moaning, the emotional voltage that courses through his delivery constantly threatening to melt their neural circuitry. � (AC) and � Tomokawa succeeds in triggering apocalyptic waves of emotionalism through the tiniest gestures exhorted from his guttural howls and fevered guitar strummings. Keeping a razor-sharp balance between self-tormenting pained gloominess and soul-searching poetic lyricism he manages to create a tense and innovative acoustic music, sounding simultaneously ancient and contemporaneously authentic. And it is here that his especial strength resides, a music fully drenched in the past, yet so attuned to the present moment. His snarling howl and single syllable guttural moans seem to bridge time and space, epoch and eras; hermetic yowls recalling Enka crooners, circus sideshow barkers, carnival callers, Nikkatsu movie gangsters and soft-hearted balladeers, all embodied in the persona of Tomokawa Kazuki� - From the liner notes. One time only press of 450 copies.

"Part of special PSF treatment of artist Kazuki Tomokawa, now reissued in special art editions, strictly limited to 500 copies each. Each will come in a gatefold card jacket, with new specially commissioned illustrations by Tomokawa on the cover and gatefold. All titles have been previously available from PSF in regular jewel box editions. Tomokawas seventh release for PSF consists of live performances recorded in 1993-95 at Shibuya Apia. He plays acoustic guitar and sings throughout, with only minor backing on piano or accordion. The power of musical performance demonstrated here is typically staggering; Tomokawas guitar playing is purely invigorating and intense (as physical as acoustic playing can get), and his voice is a towering outlet; an emotional songform beyond all international limits."

"Tomokawas seventh release for PSF consists of live performances recorded in 1993-95 at Shibuya Apia. He plays acoustic guitar and sings throughout, with only minor backing on piano or accordion. The power of musical performance demonstrated here is typically staggering; Tomokawas guitar playing is purely invigorating and intense (as physical as acoustic playing can get), and his voice is a towering outlet; an emotional songform beyond all international limits."

"1999 album from Tomokawa -- Japans other greatest underground folk singer, not to mention accomplished poet and painter, inveterate on-stage drunk, and now successful bicycle-race tipster. Eight new tracks of deeply zoned, uniquely identifiable, pure folk-soul communication, that range from melodies of limpid beauty, to sudden plunges into viciously hammered guitar, that voice rising, now screaming, and cracking into violent fragments as the other instruments following into a flailing and cathartic rhythmic purge. On Sora No Sakana, Tomokawa returns to some familiar obsessions -- the possibilities of the nursery rhyme form, musical settings for the poems of Japans tragic symbolist poet Chuya Nakahara (in the 70s Tomokawa recorded an entire album of Nakaharas poems), and deceptively opaque natural imagery. At the centre of each song is Tomokawas acoustic guitar and unmistakable voice, augmented with an unusually resourceful and sympathetic group of longterm collaborators (including Toshi Ishitsuka from Vajra). A unique individualist talent worthy of more support." -- Alan Cummings.

"Part of special PSF treatment of artist Kazuki Tomokawa, now reissued in special art editions, strictly limited to 500 copies each. Each will come in a gatefold card jacket, with new specially commissioned illustrations by Tomokawa on the cover and gatefold. All titles have been previously available from PSF in regular jewel box editions. This one was previously only available as part of PSFs now out-of-print Tomokawa box set and features a series of accompaniment to the works of poet Chuya Nakahara (1907-1937)."

"Sixth volume in the PSF Picture Jacket Collection of Tomokawa reissues. This one was previously only available as part of PSFs now out-of-print Tomokawa 13CD box set and features a series of accompaniment to the works of poet Chuya Nakahara (1907-1937)."

"Faithful official reproduced reissue housed in the always top notch mini-LP styled gatefold jackets, obi and inserts. This was Tomokawas first record, released in October 1975. He is undoubtedly the unequaled master of possessed song-spirit. Here the young Tomokawa wails and screams emotionally hard enough in order to strip the paint of the walls. Nevertheless at times he gets quite emotional and laid back in order to hush his haunting demons to sleep. Just a splendid piece of Japanese acid folk and chant exorcism. Tomokawas music is violent, emotionally charged with insane screaming modes, piercing sensitivity, cathartic rhythmic purge, thrashing acoustic guitar aesthetic and harsh, reflecting the atmosphere of the bleak northern prefecture of Aomori. Hardly turns up these days. Stunningly great psychedelic-acid-avant-outsider folk music. For fans of Mikami Kan, Jandek, acid folk, Iuchi Kengo, J.A.Seazer, psych heads all around and adventurous music geeks. If you are interested in acid folk, well look no further cause it will not get any better than this. Highly recommended official top notch high quality reissue of this rare early (1st) Tomokawa disc."-Showboat/Sky Station

"Part of special PSF treatment of artist Kazuki Tomokawa, now reissued in special art editions, strictly limited to 500 copies each. Each will come in a gatefold card jacket, with new specially commissioned illustrations by Tomokawa on the cover and gatefold. All titles have been previously available from PSF in regular jewel box editions. Kan Mikami teams up with Tomokawa, with contributions from heavy bassist Motoharu Yoshizawa." - Tomokawa.

"First ever DVD release on PSF. Eighteen tracks of screaming philosopher-poet Kazuki Tomokawa, recorded at the Apia folk club in Tokyo. Tomokawa has been playing at Apia for over thirty years, and his shows there are legendary for their honesty and human-mystery. This DVD compiles the highlights from four recent gigs, including stunning new tracks used in recent films by cult directors Takashi Miike (Audition, Ichi the Killer, Visitor Q) and Koji Wakamatsu (Violated Angels, Sex Jack, Endless Waltz). Tomokawas impassioned acid folk stands as one of the greatest shining black stars in the post-war Japanese underground firmament. Whether suffused with bittersweet joy and lyrical insight, or rank with bitterness and self-directed bile, Tomokawa animates each and every song with an incomparable sense of life that has to be heard to be believed. A truly beautiful thing." - Alan Cummings. Color, NTSC Region 2, 4:3 [note: REGION 2 is defined as: Japan, Europe, South Africa, Middle East, Greenland; so this may not be compatible with some US DVD players!]

"Two elegies in dub by Tomorrow The Rain Will Fall Upwards: for the once-great city of New York, and for one of its most celebrated sons. A 10" vinyl-only release, cut by Matt Colton at Alchemy and housed in a full picture sleeve. Strictly limited edition of 500." - Blackest Ever Black.

Reissue of the 1979 release. "Here we have one of the finest slabs of D.I.Y. pop bliss ever, friends. "The Toms" was the brainchild of one Tom Marolda, who wrote all the tunes, played all the instruments and sang all the songs, sounding for all the world like a looser, teenage version of Emitt Rhodes or a young, carefree cross between John Lennon and Paul McCartney.... one of those "pretty close to pop perfection" LPs.... and a rapid-fire succession of unforgettable hooks galore." - Shake Some Action: The Ultimate Guide to Power Pop.

Latest from Jan Anderzen of Kemialliset Ystavat, released on Matt Mondaniles (Ducktails, Real Estate, etc) new label. "Jan Anderzen is a�Tampere based artist who rearranges images and sounds and makes the�
music of Tomutonttu audible. Read streams, mutilated voices, groovy�
animal noises and records other people have made are some of the�
ingredients Anderzen uses to mold his ecstatic music. Someone described�
it like this: a confusing close-up of music, a microcosmos�
of strange sound events and dirt flying around in stereo space,�
interacting with a logic all of their own.�Elavana Planeetall is his newest work and
�his most accessible to date." - New Images.

"Finnish multi-media artist Jan Anderzén under his Tomutonttu guise. Kevätjuhla is his second release for Alter following a split 7" with Oneohtrix Point Never in 2010 (ALT 002EP), and his first vinyl long player since 2011. Lately, Jan has been creating installation work for which the music of Kevätjuhla was initially composed. Inspired by the multitudes of mold and the microbial life, the installation Kevätjuhla was built as a listening station that sought a bond between sound, the earth, and organic matter. Sound was sent to speakers through cables, sprouting like stems from a pile of dirt with a single coleus growing on top. A graphic score of sticks, orange peel, and party debris were hung next to the installation. The score is visualized on the albums cover. Electronic and acoustic instrumentation blends together confidently and more refined than before with a minimal, razor sharp approach to production. Each track is an integral part of the records trippy cut-and-paste narrative, leaving the listener wholly unaware when one bit ends and another begins. A confounding array of musical references, such as folk, hip-hop and Yellow Magic Orchestra could be thrown up here, but with Kevätjuhla, Anderzén has ultimately created a form of music that goes beyond genre classification and fully into the realm of "other"." - Alter.

"Where does Tomutonttu begin? From here. We have re-released the hunchbacks first tape (Tomutonttu, Huutomerkki!, 2003) on 10 inch vinyl that works as a gateway from Kemialliset Ystavat to the melted seduction song world of Tomutonttu. He is one of the most important characters in new music, and even though they say you should avoid looking towards him, everybodys a bit sweeter when being born." - Peippo.

"aka jan anderzen of kemialliset ystavat and avarus, this is the dudes first solo lp, beautyful collages of layered sounds, toy instruments, choir chanting, pianos, tape loops, millions of tape loops and a general typical bizar finnish feeling. cover design is a colaborative drawing of dennis tyfus and jan anderzen made during his stay in antwerp/belgium.." - Ultra Eczema.

"Fonal re-releases Tomutonto, a long sold-out gem by Finlands Tomutonttu (Jan Anderzén), previously released on LP in 2006 by the Ultra Eczema label. Anderzén is a visual artist and the leader of respected avant-garde group Kemialliset Ystävät, whose primitivism and tribal noise inclinations are reflected in these recordings. Echoed, chanting vocals, ethnic flutes, droning or rushing electronics, ritualistic mantras, low intonations, oscillations, ululations, sped-up tape squiggle, blistered bass tones and thudded percussion are just some of what youll encounter here, creating a pastiche of sound of that will accompany you as you delve further and further into the neon cave." - Fonal.

"Ugh! Tomutonttu. A solo project by a member of Kemialliset Ystavat. A one leg frog who has a post as a court jester in a land seen only in wax wings drunken dream. The usual basement boogie, sound of the kind of solitude felt when walking on the bottom of a lake. As foggy as the autumn which lasted several infinities. The project of filling the world with an endless stream of plinkity plonk continues. (The artist claimed this statement to be too true.)" -Ralf Normaali.

"Ed. of 300 copies on 220 gm vinyl. Kemialliset Ystävät member Tomutonttu (Jan Anderzén) plays a bit like Dome to KYs Wire. The Ystävät-ness is there, but stripped down to the frame with a minimal synth breeze blowing through it. Beautifully lyrical in its layered abstractions, there is a sort of finely hewn composite of experimental dada electronics (ala early, early, early Die Todliche Doris or early, early, early P16.D4) and composerly elements (ala Rimarimba, Andrew Poppy or Meredith Monk). A few little Kraut-isms top off the tonic at no extra charge. Oh, and theres a bit that gets all spacey and chirpy like when the Virgin Prunes go completely bonkers (thats sure a helpful reference point... well, we like it). Basically, this is the music that the mothership had in the tape deck just before dropping Kemialliset Ystävät off in the 12th century." - Beta-Lactam Ring.

"Fonal Recods re-releases this long sold-out debut by Tomutonttu, originally released in 2007 by Beta-lactam Ring and previously only available in a 400 copies-only 220 gram vinyl format. Tomutonttu ("Dust Gnome") is a human called Jan Anderzén, a visual artist and the leader of respected avant-garde sound group Kemialliset Ystävät. Toy reed streams, mutilated vocals and groovy loops of animal noise are some of the colors used to create the whirling mess that is the lonely song of Tomutonttu. It is like a confused and confusing detail of the Kemialliset Ystävät freedom-flow -- a microcosmos of strange sound creatures and dirt flying around in the stereo space, interacting with a logic all of their own. Harkening early electronic experimenters and avant composers of the past such as early Die Tödliche Doris and Meredith Monk, this album is like listening to 500 library records all at once, or walking through a labyrinth of motherboards, or laying on a scientists table with electrodes attached to your body while you are exposed to every noise, light, and color in their various range of spectrums. Tomutonttu has collaborated live with Mike Bernstein (Double Leopards, Religious Knives), Joshua Burkett, Tara Burke (Fursaxa), The Skaters, Glenn Donaldson (Jewelled Antler), Sami Sänpäkkilä (Es) and Clay Ruby (Davenport), and has recently played a series of concerts for school kids at the planetarium in his home town of Tampere, Finland." - Fonal.

"The album Tomuuntuu, was conjured based on the omnipresent reinterpretation of the project name Tomutonttu by press, fans and even its publisher. Confused? Well, this one sided 21 minute opus may alieviate some of the pressure youve put on your self for correctly trying to pronounce acts from the Finnish underground. Jan Anderzen was commissioned to make this album by the Aanen Lumo Fesitval for New Sounds. The music debuted at the Orion Theatre in Helsinki 11.10.10.
Tomuuntuu conveys dozens of ideas in psychadelic electronic composition. Each short piece shifts into the next as if it was born out of the last one. Fluttering tremolo guitar, percussive hits, manipulated field recordings and electronics all bounce between stereo channels to create a sublime listening experience.
LP is pressed as a one sided record, with a direct to vinyl, solvent based high gloss screen print on the blank side. Permanent and archival." -Beniffer.

"This vinyl pairing of Finlands Tomutonttu (Kemialliset Ystäväts Jan Anderzen) and New Yorks Oneohtrix Point Never (Daniel Lopatin) was released to celebrate their joint UK tour in May 2012. Tomutonttus "Likaiset Pilvet" sees Anderzen diving deep into his archives and re-emerging with something new after a heavy editing session. OPNs "Wayland Lincoln Border" builds deep layers of warm sound from trance-like synth melodies. Released in an edition of 500 with cover art by Jan Anderzen. These are the last remaining copies from that pressing." - Alter.

"Limited edition of 500. Tone Set (Galen Herod and Greg Horn) was an Arizona minimal synth duo that existed from 1981 to 1983. Their early sound mixed analog synthesizers and gritty drum machines with tapes of found speech. This was the sound of their first release, a 1982 cassette called Cals Ranch recorded with almost no vocals at The Center for Advanced Studies and released through the Zia record store in Tempe, AZ. In 1982, Tone Set contributed the track "Out! Out! Out!" to Placebo Records Amuck compilation (PLA-103), which also featured Meat Puppets, and Sun City Girls (the duo also contributed a track called "Happy People" under their Happy People alias). Vocals started to become a more prominent part of their sound by the time they recorded their Calibrate EP, released in February 1983 on Pegna Records (peg one). The first side featured three pop songs -- "Life is Busy" and "Slim," both sung by Herod, and "Living In Another Land," sung by Horn. The second side of the EP came from the Cals Ranch sessions. The duo also performed as Life Is Busy, The Art Farmers, and The Special Eds as outlets for their different types of songwriting styles, from ambient to New York Downtown-type material, with the Life Is Busy repertoire collecting their synthpop songs. A video for "Life is Busy" was produced from found footage, just like the vocals of most of their songs. It was shown on Videobeat and once on MTVs Basement Tapes, where, despite the presence of Mark Mothersbaugh (DEVO) as one of the judges, it didnt get enough votes for rotation, but it was licensed for six months on Cinemax in 1983. That year, each member began releasing solo works, leaving many previously unreleased recordings behind (62 recordings in total), which now finally find their well-deserved release on Vinyl-on-Demand. Such Heavy Conviction: Recordings 1981-1983 includes the contents of Cals Ranch and Calibrate (plus previously unreleased songs from the Calibrate session), and additional material collected as Masters of Funk, Unreleased Classic Tone Set, The Last Tone Set, The Earliest Tone Set, The Alternate Cals Ranch, and The Single, spread over five LPs and a 7". A must-have for serious fans and collectors of 80s minimal/synth. Several promotional videos for this box set are available at Youtube." - Vinyl On Demand.

"The MP3 Deviation album contains pieces that are results of the collaborative research by a team of the New Aesthetics in Computer Music (NACM) and myself, led by Tony Myatt at Music Research Center at the University of York in UK in 2009. My idea was to develop new software based on the disruption of the MP3. Primarily I thought the MP3 as a reproducing device could have created a very new sound by intervention between its main elements, the compression encoder and decoder. It turned out that result was not satisfactory. However, we found that if the sound file had been corrupted in the MP3, the corruptions generated 21 error messages, which could be utilized to assign various 21 lengths of samples automatically. Combining with different playback speeds, it could produce unpredictable and unknowable sound. That is a main pillar of the software. We, also, added some other elements such as flipping stereo channels and phase inversing alternately with a certain length of frequency ranges, which resulted in different timbres and pitches. I performed several times at the MRC and I was certain that this software would be a perfect tool for performances. I have tentatively performed the piece in public in Kyoto, May 2009 and in New York, in May 2010. I also performed it successfully with totally different sound sources when I was invited for The Morning Line in Vienna in June 2011." - Yasunao Tone.

"The MP3 Deviation album contains pieces that are results of the collaborative research by a team of the New Aesthetics in Computer Music (NACM) and myself, led by Tony Myatt at Music Research Center at the University of York in UK in 2009. My idea was to develop new software based on the disruption of the MP3. Primarily I thought the MP3 as a reproducing device could have created a very new sound by intervention between its main elements, the compression encoder and decoder. It turned out that result was not satisfactory. However, we found that if the sound file had been corrupted in the MP3, the corruptions generated 21 error messages, which could be utilized to assign various 21 lengths of samples automatically. Combining with different playback speeds, it could produce unpredictable and unknowable sound. That is a main pillar of the software. We, also, added some other elements such as flipping stereo channels and phase inversing alternately with a certain length of frequency ranges, which resulted in different timbres and pitches. I performed several times at the MRC and I was certain that this software would be a perfect tool for performances. I have tentatively performed the piece in public in Kyoto, May 2009 and in New York, in May 2010. I also performed it successfully with totally different sound sources when I was invited for The Morning Line in Vienna in June 2011." -Yasunao Tone.

"A catalog (with 3"CD) for his live performances in Japan after 28 years. An interview (most text in Japanese, but includes many rare photographs), criticism, biography, compositions and discography. CD is recorded Tones unreleased work "Geography and Music (1979)" performed by John Cage / Takehisa Kosugi (reading), David Tudor (piano) and Martin Calve (Chinese 7 strings zither) in 1983." - publisher.

"New York Citys experimental duo Talibam! team up with Fluxus artist and electronic avant-gardist Yasunao Tone and trombonist Sam Kulik for a confrontational sonic attack, fired by an array of analog synths and other electronic devices. David Novak, author of Japanoise: Music at the Edge of Circulation (2013), on Double Automatism: "Bringing together the most calamitous materials from their home planets of noise, glitch, and free improvisation, Tone and Talibam! are at once the likeliest and unlikeliest of conspirators. Despite making his home in New York since 1971, Tones foundational electronic work harkens back to his early days in revolutionary Japanese avant-garde collectives Ongaku and Hi Red Center, and resonates with his groundbreaking deconstructions of digital CD sound in the 1980s. Meanwhile in the post-art worlds of millennial Brooklyn, Talibam! have cranked out their own absurd, profane, and unclassifiable improvisational style, bringing their provocations around the world, and proficiently mediating jazz, rock, and hip-hop along the way; trombonist Sam Kulik brings an acoustic element to the mix that invokes the live sonic mixes of Musica Elettronica Viva. In their collaboration Double Automatism, they forge a confrontational new alliance in the transnational history of experimental sound, with the noisiest consequences imaginable." The idea for Double Automatism was born in 2012 when Talibam! and Kulik were invited to interpret Tones graphic scores and game pieces as part of the Museum of Modern Arts 2013 exhibition, Tokyo 1955-1970: A New Avant-Garde. They soon met Tone and the group immediately developed a mutual affinity. Six months later the trio invited Tone for a recording session, with Kulik on trombone, Matt Mottel on his Roland Alpha Juno 1 analog synth, Kevin Shea (Mostly Other People Do the Killing) on electronic MIDI mallet percussion, and Tone using his self-developed MP3 Deviations on his computer. The two epic pieces on Double Automatism not only continue Talibam!s enduring explorations of new musical territory beyond genre limitations, but also forcefully testify to Tones unique artistry (previously documented on collaborations with Russell Haswell (EMEGO 142CD) and Florian Hecker and solo works on Tzadik and Asphodel). Pressed on 180-gram vinyl; presented in silk-screened sleeve; includes download code. Limited to 500 copies." - Karlrecords.

"Tongues of Light present Channelled Messages At The End Of History. Totally stunning record, drawing cosmic, primordial vectors between glossolalia, sound poetry and improvised music via the nebulæ of Youtube for Demdike Stare and Andy Votels Pre-Cert Home Entertainment. Arguably the labels most striking, even transcendent release, Channelled Messages At The End Of History started life as a gift for a friend following long conversations about the nature of improvisation, spontaneity and musical mediumship and subsequently dawned as a remarkable document of occult praxis in the digital age. Tongues of Light acts as a sort of psycho-pomp or liminal interpreter for a wide range of belief systems, all rooted in the common conviction that they are channeling sounds from some "other" or "higher" entity or dimension, much in the same way that Sun Ra believed he was channeling celestial bodies thru his music or the Dogon people of Sub-Saharan Africa believed they received alien codes describing humanitys heritage. The record unfurls as a seamlessly sequenced compilation of samples - all framed by plasmid drones and synth pads which connect and highlight the links between seemingly disparate elements. By the records end the effect is really quite uncanny; compounding disparate new age coordinates on a common plane, and thereby revealing their underlying, subconscious metaphysics. Its great to hear Pre-Cert Home Entertainment connecting the dots between generations of new age thought and practice. This slab will stand out as one of their defining releases for time to come. Features sleeve artwork designed by Andy Votel. Cut at Dubplates & Mastering. Edition of 500." - Pre-Cert.

"Cassette-only, limited edition release of 250 copies. Brothers in long-form drone music Jon Wesseltoft (also known for his work in Norwegian black metal outfit Thorns) and Lasse Marhaug (also of Jazzkamer) are Tongues Of Mount Meru. The Delight Of Assembly was performed in Oslo, Norway, 2008. Illustration by SavX." - The Tapeworm.

Artist: TONIUTTI, GIANCARLO
Title: (And Now He Almost Did Make Himself Into Hemlock Needles, It Is Said) Sound-Field For Rattle-Harp
Format: CD
Label: Alluvial
Country: USA
Price: $13.00

"Comes in an LP-style sleeve with a 16-page booklet. A single, hour-long work. Recorded on January 18, 2001 in Udine, the Red Room [Sound-source: Rattle-harp (drift metal, string, wire, bells, bone, wood)]. Treated & composed on February 9-12, 2002 in Udine, the Black Room. All photos have been taken at Caneo natural reserve, Fossalon di Grado, Isonzo River Mouth, Friuli-Venezia Giulia, Italy, 0 m. asl. The very occasional faint crackles are digital faults from the original recording; as part of the document, they have not been erased." -Alluvial

"A milestone originally released in 1985 on the legendary Broken Flag label, Giancarlo Toniuttis La Mutazione is renowned in certain circles as a classic and with good reason. The album comprises two subtle and haunting side-long explorations of dark cosmic electronics akin to Klaus Schulze, Cluster, Tangerine Dream, and Conrad Schnitzler filtered through the lens of Maurizio Bianchi, Whitehouse, Nurse With Wound, and The New Blockaders. At the time, Toniutti had just enrolled at the Venice Conservatory of Music with a heady amount of education in Stockhausen, Schaeffer, et al. These three musical poles come together in this beautiful and unsettling construction of layered static, analog synth explorations, concrete sounds, and field recordings. This limited edition reissue is an exact replica of the original Broken Flag LP release, with remastered audio and an inner sleeve containing archival photos and sketches from the period in which the work was created. This edition also includes a bonus CD of unreleased material from Toniuttis cassette archive featuring a collage of sound sketches recorded during the same time period, thus giving the listener a wider view into the sound-world that helped form La Mutazione. Black Truffle is proud to present La Mutazione on vinyl for the first time since its original 1985 issue. A landmark release, its influence is still being felt throughout the dark corners of experimental music." - Black Truffle.

"Box set of Giancarlo Toniuttis 3 early works Wechselwirkung, Metánárkôsis, Das Todesantlitz which have all been published by Toniutti on cassette tapes in 1982-83 in a very limited numbered edition. The box also includes a 10" vinyl EP with previously unreleased tracks from that same very early period (1981-84). This work represents his early musical-work as solo composer. 1982-83 was the period, and experiments with early electronics, found objects, rough percussion and noise were the attitudes that coalesce into his first 3 cassette works found on this box. This past time becomes part of the future when historically contextualized. Early electronics, acoustic objects and the beginning of a form of structuralism was the mélange of that young mind. It will come with a booklet including an essay about the history of the period, notes and data." - Vinyl on Demand.

"I worked mostly with micro-structural activity as a consequence of sonic morphologies of the sound sources. But I also developed a macro-structural map of densities through major analyses of the fields of perception." - Toniutti. Includes 24 page booklet. From 1993. Andrew Chalk was Ferial Confine (see Fusetron LP) and is currently in Mirror with Christoph Heeman.

"A pebble codex. Vitrine is honored to present antidocument/groundwork, the first album of new work by Massimo Toniutti since 1991s Il Museo Selvatico. Toniutti has been crafting a theatre of geometry and meiosis since the early 80s with his self-released cassettes bridging concrete sound, Industrial shadow play and stately dispersal. A rustle, something falls. Out of bounds electronics complicate sound cabinets of ringing bells and creaking joints. The furniture is cleared from the room. Echo precedes incident. antidocument/groundwork finds spiritual kinship with Toniuttis past work, but exists as its own monument to tape and place. Charge and field in secular transitions of magnetic layering. Plateaus of mysterious sound reveal latent sense in a latticed order. Rising and falling along latitudes of significance. Tapping, fade and swelter into sequences far climes. Suddenly, a string is plucked and tape reacts in space. While comparisons can be made to artists such as Andrew Chalk or G*Park, Massimo Toniutti creates his own context. This is the assured, mature work of a master. There is no further explanation necessary than the sound itself. antidocument/groundwork follows through on the promise of Toniuttis past works and surpasses them in nuance and minute scale. A rustle and swift mic interference - a wind up moratorium. Its all on negotiable instruments. Its all up in the air and committed to tape. When the tape stops, flip it over and play again. Sold out at source." - Vitrine.

"Astounding new 24-minute 12" from one of Americas longest-running free rock outfits. New York Citys Tono Bungay features ace string picker Bob Bannister, who has lent his guitar talents to projects as diverse as Cat Power and Glenn Brancas recent100-guitar orchestra as well as releasing two solo LPs on Twisted Village. One could nary guess he was weaned on Finnish prog in Finland, no less! Drummer Tony Cenicola is content to lay down a solid backbeat for a few seconds before erupting into pure freedom, then throwing drumsticks at the kit (and audience), then whipping his drums with chains and whatever else is handy. Dada master Robert Dennis manipulates his masterfully planned Auto-Destruct labyrinth of bass, tape machines, and electronics, which is so beautifully planned by its creator that it often self-destructs long before Robert pushes that big red button. Kluge is sonically closer to the two-track squall of their 1993 debut LP Rough Music than the careful ambiance of Wunderkammer with their focus sharpened by nearly a decade of dedicated work on their unique approach to sound." -Twisted Village. 2001 release, limited editon paste on covers.

"Less grit and more gristle they formulate their sound into a low pulse cohesive flow, less aggro and more composition though still not as psychedelic and Ptolemaic as they are now." - NWOS. 1995 release.

"The pioneering electronic duo of Robert Margouleff and Malcolm Cecil aka Tonto released their influential debut, Zero Time, in 1971, showcasing what they described as "the worlds first and largest multi-timbral polyphonic analog synthesizer." Three years later, they released this classic follow-up, recorded in Malibu. Building on their earlier achievements, it incorporates guitar, bass and drums into the unique sound of Tonto: "The Original New Timbral Orchestra."" -Keyhole.

"A reissue of the obscure yet classic psych folk gem All On The First Day by TONY CARO AND JOHN. Originally released in 1972, this album was somehow buried in the "stuff drawer" of time to be recently rediscovered by those inclined to look. The band was featured on the British Love Peace & Poetry LP and had Baltimore group Beach House cover their "Snowdon Song" on their debut album (re-titling it "Lovelier Girl"). Somewhere between the whimsy of The Incredible String Band and the stark beauty of Vashti Bunyan lie Tony Caro and John." -Gaarden

"Fans of the classic 1972 acid folk LP All On The First Day by Tony Caro & John rejoice! Yes, if you have one of the hundred or so copies of the original UK private press (with the hand-spray-painted cover, then you are probably a millionaire), or you purchased the ultra-limited Shadoks label reissue with EP in 2001, or the Gaarden records reissue of said reissue (if not, pressing two is still available, folks), there is still more! Drag City Records, Gaarden Records, and Galactic Zoo Disk have united forces to bring you Blue Clouds, a collection of the bands outtakes, rarities and live recordings spanning 1972 --1977. There are full band head-rockers here as well as quiet, stripped down home recordings-- plus a little drum machine sprinkled among the folky whimsy. Even casual fans of 60s psychedelic folkiness will enjoy this odds and sods compilation, as it stands up as a great lost album (do we even need mention that the trendy popsters Beach House ripped off a tune from TCJs Tony Dore? ah, probably not) and certainly serious fans of English pastoral folk like Incredible String Band, Bert Jansch, Left-Handed Marriage, The Holyground collective, Dr. Strangely Strange, Forest, etc. will need to grip this fast." - Drag City.

"In 1985, between the country punk band the Range Rats and the mystical psychedelic punk band Dead Moon lay these six songs released originally in very limited batches spread between three 7" records. Fred Cole and friends are the Western Front -- a shit kicking country band with a sensitive side too. They bring us the excellent ballads Looking Back at Me and Clementine and the raucous Orygun and Stampede. The two other tracks are the same band backing up Toody Cole, singing two incredibly perfect songs -- Rather Be Your Lover and Coming On Strong. This record is a must for fans of Fred and Toody Cole of Dead Moon, Pierced Arrows, the Rats, The Range Rats, Lollipop Shoppe, The Weeds, and so on. A lost treasure. One page insert included." - Mississippi

"The music existed already, spores maybe or dormant clusters of digital files. Out of three periods of solitude the germination began. The first was in Queensland, on Tamborine Mountain (an aboriginal name), so silent at night that I listened to recorded music - Japanese Gagaku, Buddhist ritual from Bhutan, Korean Confucian music - as if drifting into cavernous black space. Stepping into sleep I saw a hypnagogic image - a transparent swimming pool suspended over the mouth of a volcano. I read Stephen Mansfields book on Japanese stone gardens - Successful stone arrangements seem almost alive, the elements conversing among themselves with an occult vitality, the call and response that has been noted between well-placed rocks resembling the chanting of Buddhist sutras; Daylight listening in chill air, hearing whip birds, butcher birds, noisy mynahs, kookaburra chatter, rainbow lorikeets; catapult elastic, I wrote, radio waves in a kettle, electric buzzers. On Queenslands Gold Coast I gazed at a distant humpback whale breaching out to sea, watched Yasujiro Ozus 1934 silent version of A Story of Floating Weeds, listened to cicadas burst into life as a helicopter flew overhead. Back into society and driving with Lawrence English I asked him, why would anybody release music in the 21st century? He laid out his philosophy; I was convinced. Then in St Ives, Cornwall, solitary again, drawing, reading Timothy Mortons Hyperobjects and Clarice Lispectors Agua Viva, gazing at ocean flux, music trembling into life from secreted audio files, music becoming living entities. Phantoms rose up out of sea mist, images of black light and blistered skin from photographers (Takuma Nakahira and Tomatsu Shomei), the fermenting of sounds. From a distance I heard voices - the extraordinary painter Mariko Sugano reciting ancient Japanese garden texts on the taboos associated with stone setting; Emi Watanabes flute as if a ghost from the Noh; the sounds of underwater creatures in my pond; Sylvia Halletts sarangi crying; the fervent drumming of Rie Nakajimas small mechanical beings; John Butchers reeds, music as a scientific exploration of the body, the instrument. In the Noh play Aoi no Ue, the spirit is compelled with drum and plucked string (the catalpa bow). In solitude I contemplated death, decay, the gush of life. Back in the car, Lawrence told me, when you die youll leave many projects unfinished. I laughed. Unspeakable truths, notes for a language to come, maybe not this world." - David Toop

"Limited edition of 300. David Toops environmental beauty Life on the Inside is the audio companion (created and recorded in 2015) to French sculptorPierre Bessons 2014 exhibition Dobjets noires et de Choses carrées (Black Objects and Square Things). This 34-minute ambient track was diffused inside of the sculpture and has never been published before. An excellent addition to the David Toop discography and a must for any wide-ranging ambient fan." - Sub Rosa.

"Recordings from 1978 by David Toop of Yanomami ritual songs, shamanistic ceremonies, and rainforest sounds. The voices of spirits and animal familiars, ventriloquial illusions of sound in dark spaces, secret spirit languages, the clap of thunder that links shamanic trance with the sleep language of Finnegans Wake... Out of these passages of the everyday, intensity flares like flames caught by a gust of wind. Skin burns or oozes blood, the wind blows up havoc as the spirits move about. Both double CD and LP include 40-page booklet with text and pictures telling the full story of Toops fascinating journey in 1978 through the Amazon jungle to meet and record the last Yanomami shamans. CD presented in six-page digipak." - Sub Rosa.

“Mixed by Lawrence English. Recordings from 1978 byDavid Toop of Yanomami ritual songs, shamanistic ceremonies, and rainforest sounds. The voices of spirits and animal familiars, ventriloquial illusions of sound in dark spaces, secret spirit languages, the clap of thunder that links shamanic trance with the sleep language of Finnegans Wake... Out of these passages of the everyday, intensity flares like flames caught by a gust of wind. Skin burns or oozes blood, the wind blows up havoc as the spirits move about. Includes 40-page booklet with text and pictures telling the full story of Toops fascinating journey in 1978 through the Amazon jungle to meet and record the last Yanomami shamans.” - Sub Rosa.

"Winters get cold in New England. This is especially true up around Burlington VT, where the icy wind whips pinecones around so hard they can pierce metal. Thankfully, Burlington-based musician, Alexandria Hall brooks none of winters guff. Using the nom de musique Tooth Ache, she creates oppositional swirls of pure electronic heat, her voice blending and bending amidst the beats and fat key chords she uses to keep her yurt warm. There are elements of deep club music in Alexandrias work, but her sound has an ecstatic wobble that constantly shifts its gravitational center up and down a long rubbery sonic shaft. This can leave it dangling dangerously, just beyond reach, or make it wriggle in your grasping hands like a fat live sausage. As with much other Vermont music, theres a kind of druggy loveliness to the way Tooth Ache songs come together in your head, and this should make us all happy that a friend left some electronic equipment in Halls basement a few years ago, thus freeing her from the acoustic folkie shackles that had bound her earliest work. Ms. Hall has proposed three videos from the album, and the first -- "Matador" -- has now been shot and released. Much of the footage was done at Shenanigans, a combo bowling alley/strip club in White River Junction VT, and it works really well both visually and narratively. "Eurydice" and "Not Even the Moon" should follow soon. So be prepared. And warm." - Feeding Tube.

"Debut full-length by this sour times lurker trio. Recorded across four
months in a time consuming 4-track/boombox assemblage style, this one leaks
shadows and rainy piano riffs and faded heartbreak. Edition of 400." - Not Not Fun.

"West Coast ghost squad TOPAZ RAGS stalk back into the deadlights with a fresh vinyl single, their first new material since the Capricorn Born Again LP. Recorded in the heart of winter in a room with one blue light bulb, "The Crown Center" is pure nightprowler music: quaking bass, grime-jazz keys, dusty drums, witch choirs floating through the smog and into sleeping homes with the power lines cut. The sound of crime to come. The flip ("You Go On") slips deeper into the psych-psycho psyche, a bleached-brain riff-rhythm grinding away endlessly while voices and electric piano stabs arc across the stereo field, raining ash. A grimmer twist on the Topaz formula, the dreamers dream turned dark. 33 RPM 7-inch pressed on various colored vinyl in hand-silkscreened cardstock sleeves. Edition of 345." -Not Not Fun

"The screams the unchained soarings of a sincerity which is on its way to this revolution of the whole body without which nothing can be changed." -- Antonin Artaud. "Arthur Magazine proudly presents our newest release Paradise Now: The Living Theatre in Amerika DVD featuring rare, never-before-distributed films and a bacchanal of revolutionary multimedia documents from The Living Theatres historic and influential 68-69 American tour. A fulminating art-meets-life installation brought to you in collaboration with The Living Theatre, The Ira Cohen Akashic Project and Saturnalia Media Rites of the Dreamweapon. Transform your living, work or performance space... hit play, but dont say we didnt warn you! DVD includes: Paradise Now: The Living Theatre in Amerika (1969) a film by Marty Topp, produced by Ira Cohen for Universal Mutant; Emergency (1968) a film by Gwen Brown, featuring precious footage of Living Theatre productions Mysteries and smaller pieces, Paradise Now, and Frankenstein; rare photographs of Paradise Now at Brooklyn Academy of Music by Don Snyder; the map of Paradise Now, a 14 x 19 double-sided, commemorative poster + zine including texts by Antonin Artaud, Julian Beck, Judith Malina, Ira Cohen and Don Snyder. In 1968, The Living Theatre, led by Julian Beck and Judith Malina, triumphantly returned to America from years of self-imposed exile in Europe with their theatrical breakthrough Paradise Now. The play introduces the practice of collective creation, dissolving the boundaries of human interactions and forging a harmony between the actors and audience. Of this process, Julian Beck writes, Collective creation is the secret weapon of the people ... This play is a voyage from the many to the one and from the one to the many. Its a spiritual voyage and a political voyage, a voyage for the actors and the spectators. The play is a vertical ascent toward permanent revolution, leading to revolutionary action here and now. The revolution of which the play speaks is the beautiful, non-violent, anarchist revolution. The purpose of the play is to lead to a state of being in which non-violent revolutionary action is possible. The result of this shared voyage is the spontaneous creation of a temporary anarchist collective -- free from the enslavements of war, violence, the State, money and the self."-Arthur.

"With previous releases by toral on such respected labels as touch, table of the elements and ecstatic peace, taiga records is proud to present the deluxe 2xlp version of space. this exciting album by toral is coincidentally taigas inaugural release as well as that of the space program. originally released on cd by the highly regarded staubgold label, it is presented here in a limited edition of 500 copies on direct-metal mastered 200g virgin vinyl. this version includes all of the original audio from the cd plus a previously unreleased 17-minute vinyl-only bonus track, "space study 1.3," a live duet with percussionist cesar burago. packaged in a gatefold jacket designed by helder luís with spot metallic printing, the album boasts the daniel malhão photograph from the cd version expanded across the entire outside in uv gloss, an essay by toral printed inside on reversed stock and the pockets flooded black." - Taiga

"This is the third in Rafael Torals Space Program series of releases -- his long-term research project launched in 2004, through which he has unearthed an innovative approach and a complete re-thinking of how electronic music is conceived and experienced. Using custom experimental instruments, Toral performs electronic music concerned with "phrasing and swing" and performing strange melodies with physicality, movement and gesture in flux. The result is something youre unlikely to have heard before, a kind of alien electronic jazz. After the acclaimed, orchestral Space and the follow-up Space Solo 1, this is the first volume of the Space Elements series, each release being focused on one kind of instrument, on small settings and including collaborations. Space Elements Vol. I features Rute Praça (cello), Margarida Garcia (electric double-bass), Sei Miguels amazing percussionist César Burago, and David Toop (flute), besides a short appearance by Sei Miguel himself. From Torals liner notes: "Having found that jazz is the field of musical knowledge where disciplined decision-making is most developed, this music is more informed by jazz than by any other. The Space Program emphasizes articulating silence and sound, by structuring musical discourse on experimental instruments with a simple and clear sonic identity. To my surprise, I found no historical precedents to this practice, being that it draws practically no information from electronic music history (which is grounded on different thinking patterns), and it draws very little from jazz history as well, since the instruments I use are inadequate to play any music based on the Western system. I regard this approach to jazz (meaning a system of individual decision-making from the standpoint of free-spectrum live electronics) as a new and exciting field of creative possibilities. I called it post-free jazz electronic music." Space Elements Vol. I was mastered direct to metal and pressed on clear 200 gram virgin vinyl in a limited edition of 500 copies. The jacket was designed by Helder Luís at No Type and features a collage by contemporary artist João Paulo Feliciano. CD version forthcoming on Staubgold." - Taiga